TRANSPORTED EVALUATION REPORT June 2016

By MB Associates Authors: Mandy Barnett and Ruth Melville Evaluators: Charlotte Eade, Clare Thurman, Jenny Young.

Art on Lorries Unveiling © Electric Egg Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Acknowledgements Contents By combining two quite different approaches to evaluation this has been a big and complex task, made rewarding by the Acknowledgements...... 2 3d. Results: What was due to Transported?...... 87 continued support and enthusiasm of Elaine Knight, Richard Contents...... 3 What was due to Transported...... 87 Erwin-Jones and Nick Jones of Transported. Broad and deep extrapolation...... 88 Summary We would also particularly like to thank the Events Team Background...... 5 4. Return on Investment...... 89 Assistants, who gathered so much of the evidence we’ve Results...... 6 A note on content...... 89 used, especially Grace Osbourne, Joan Rushton, Linda Return on investment...... 12 Measuring Value...... 89 Barnett and Suu Wernham. Full Report The investment...... 89 And we would like to thank the participating partners and The returns...... 91 About this report...... 14 artists in the SROI analyses: Carole Miles, Helen Thomas, Social Return On Investment...... 92 John Charlesworth, Joseph Hillier, Katie Smith, Liz Kelleher, Glossary...... 15 5. Recommendations...... 95 Neil Baker, Nicola Rogers, Phiona Richards, Roger Keeling, 1. Context and scope...... 16 Strategic recommendations...... 95 Ron Frayne, Tony Wade and Wendy Gilham-Skinner. The programme...... 16 Management recommendations...... 96 Local Context...... 17 Delivery recommendations...... 96 2. The Evaluation Methodology...... 20 Evaluation recommendations...... 97 Purpose and scope...... 20 Stakeholders...... 20 Festivals. Tangled Feet. © Kamal Prashar Appendices...... 98 Methodology ...... 21 Consultation and evidence ...... 22 2a. Evaluation Framework...... 23 How and what? ‘Quality Intent’...... 23 Why? The difference Transported makes...... 24 3. Results...... 26 3a. Results: Delivery summary...... 27 Three phases of work...... 27 The whole programme ...... 27 Working in partnership...... 31

3b Results: ACE research questions...... 32 1. Are people from places of least engagement experiencing and inspired by the arts?...... 32 2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved?...... 43 3. Which approaches were successful and what were the lessons learnt?...... 52

3c. Results: Social impact...... 70 A note on content...... 70 Personal and social outcomes...... 70

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Background The evaluation methodology 4. Evaluation is of the whole three-year programme. It 1. Transported is one of 21 Creative People and Places (CPP) addresses three ACE research questions: SUMMARY programmes funded by Arts Council England (ACE) with 1 Are people from places of least engagement £2.6M, from 2012 to March 2016, with its launch to the experiencing and inspired by the arts? public in May 2013. It is the project for Boston and South 2 To what extent was the aspiration for excellence of art Holland in the Fens in South Lincolnshire. Its primary aim and excellence of the process of engaging communities is to engage the unengaged with high quality art but it will achieved? reach beyond arts participation to create social impact. 3 Which approaches were successful and what were the 2. Boston and South Holland are sparsely populated rural lessons learnt? areas, mostly white, with increasing Eastern Europe 5. It goes onto assess social outcomes to make the case to migration. Arts participation was below the national local partners. average levels of cultural participation in 2010 by between 6% (the arts in Boston) and 14% (museums and 6. The Evaluation methodology is ‘broad and deep’ with galleries in South Holland)1. The area is under-served by evidence from Transported’s large audience survey dataset ACE funded provision. Art on Lorries. Alicia Miller. © Electric Egg Ltd. and in-depth research in four projects to look at their SROI (Social Return On Investment). SROI is a value-for-money 3. Unlike some CPP areas, Boston and South Holland are methodology which uses proxy values for less tangible not highly deprived, but GCSE results are well below outcomes to compare to investment. Whole programme the national average and smoking, drinking and obesity evaluation also compared event typologies (Fun, are significant factors for ill-health. Wellbeing though, Captivating, Engrossing and Locally Resonant) with inputs matches the national average. Take up of physical (investment and demographics) to see what worked. activity, cultural activity, social media and social activism are all limited; the area has low ‘participation’ 7. The stakeholders were in four groups: audiences, for more than just for the arts. participants including partners, artists and Transported staff, and the wider local economy.

Festivals. Ruth Pigott and Julie The evaluation framework Willoughby. © Electric Egg Ltd. 8. The evaluation is framed by the ‘Quality Intent’ of Transported and a chain of events that creates a ‘Story of Change’ leading to outcomes and testing which approaches are successful.

9. ACE question 1 is answered in the main by a large audience dataset collected at the majority of events. Question 2 is answered by examining the ‘Creative Intent’ and immediate, tangible delivery outcomes. The chain of events goes on to explore question 3 about which approaches work throughout, including whether the Quality Intent leads to outcomes.

1 Active People survey, 2010 5 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Evaluation framework/chain of events shaped by Quality Intent to test what approaches work Results: ACE research questions

1. Are people from places of least engagement experiencing and inspired by the arts? How? What? Why? 13. Answering the first part of this question, Transported’s audience so far is local, and demographically more or less matches the Quality intent local population. As is the case nationally, there are more women than men attending. Just over half are in the age range 25 to 3 Delivery intent Creative intent Delivery outcomes Personal and social outcomes Economic outcomes 44, though people come from across the age spectrum. Most come with family and most are white, though at least 9% do not speak English as their first language. Of those, most are Eastern European.

Celebrate Increase demand, 14. From socio-economic groups, Transported attracts above the local average in lower income and transient groups, and below Approaches people, place from places of least that inspire 1 the local average in more well off groups who are not the target market, which is a good result. From arts marketing groups, Demand and heritage engagement Social outcome; sense of place and we see the local population is much skewed towards those who don’t normally attend the arts, and Transported audiences community match the population (or exceeded it, in terms of attracting people least likely to engage). We can see that Transported is Partnerships, Work that is: effectively attracting its target market. R&D and value Knock on effect Create material Fun Everyday on families, Saving & Excellent art culture and improve 15. However, we do also see that this demographic has shifted slightly as events begin to be paid for. Engrossing wellbeing businesses and income and engagement public spaces Captivating leaders Programme Locally resonant 16. A third of the audience in the period came specifically to support local events. 23% wanted to be with friends and family and management Participants’ and 20% actively wanted to try something new, with a quarter attending by chance. artists’ skills and Increase supply, understanding 17. Two-thirds said the activity was new to them. Develop Art in everyday of excellent art and

Supply infrastructure places engagement 18. In answer to the second part of the question (with more detail below) audiences are extremely positive and highly inspired by Transported events, with 93% ready to recommend, and 78% inspired to do more. As a composite measure of three indicators, 2 Creative Intent Delivery outcomes 72% of audiences both intended to do more and would recommend what they’d seen, or come again. 19. Some participants set up their own arts groups, a route to sustainability.

2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved? Results 20. The Creative Intent is for a varied programme which combines excellent process and art by getting the right artist for the job.

a. Artists are selected for engagement skills as well as their art. They are good at responding to a brief and understand Results: Delivery commissioning. This combination of accessible process and excellent art is manifest in how Transported breaks down 10. Over three distinct phases Transported gradually focused from consultation, through wide-ranging delivery to emphasis on barriers and builds inspiration. It makes the everyday exceptional and creates better public space sometimes with world- partnership and value. class art, so there is a tangible reminder which in turn makes participants more proud.

11. Overall amongst the 900 events and 73,000 visits, the bulk of attendance came from large-scale Fun events including outdoor b. Not only that, constraints have been an impetus for new work. Some artists have found that working for different events. However, Captivating events and participatory Engrossing events were also well attended; the split was 2/3 to 1/3 stakeholders or in constrained space or time prompted them to develop new practice. audience to participation. About half the attendance was at Locally Resonant events and we estimate 65,000 out of the total c. The intention to create a varied programme, ranging from Fun through Captivating to Engrossing projects, worked well were distinct participants, with the remaining 8,000 made up of repeat attendances. (see below). 12. Partnership delivery ranges from attaching Transported events to existing festivals, to long term relationships with d. Audience response has been extremely positive, when asked what could be improved the overwhelming reply was ‘nothing’. businesses, libraries and schools. The word most people chose to describe Transported was ‘creative’ with ‘fun’ a close second.

21. Tangible delivery results include celebration events, material culture and improved public space. These have value in themselves and also create pride and a knock on effect on personal and social outcomes, sometimes one that could last generations.

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3. Which approaches were successful and what were the lessons learnt? b. Less expected is that programming an event to be Locally Resonant has not particularly attract those who wanted ‘to support local events’. Locally Resonant projects did help attract certain groups, older and young people as opposed to 22. In assessing which approaches were successful we focus on the delivery intent and use the creative typology (a families and the Mosaic group ‘Rural Reality’, but there is no evidence to date that they are better at attracting those with a categorisation of how the projects were planned to engage) to assess different project performance against different local commitment, nor have they created better outcomes. investment and demographics. Audience events were coded as Fun or Captivating, and participatory events as Engrossing. All events were also coded according to how Locally Resonant they were. c. Different socio-economic status hasn’t affected outcomes, rather it is the nature of the engagement that makes a difference, showing that Transported is effective across a new audience. 23. Delivery Intent is about leadership and managing and communicating the programme effectively, arts development and the structure and infrastructure around Transported. Excellence threads well through processes and the organisational culture d. Commissioned projects haven’t necessarily had better outcomes, but more expensive projects have – and they appeal to of Transported. the more engaged.

a. The tone is set by a strong local vision and the experienced, supportive management of projects. The supply chain 25. We can conclude that the management focus on excellence described above is successful in attracting and inspiring new from leadership, through AEWs2 to artist maintains the quality. Similarly, the process throughout is good at sharing an audiences and maintaining other groups. In particular through the selection of the right artists, support for R&D, a varied understanding of excellence. programme and a focus on breaking down barriers through celebration of the everyday.

b. Artist selection is rigorous, and includes a community presence on steering groups and ‘tasters’ at interview. Briefs and 26. For participants, key features of Transported’s chain of events include high quality, exposure to artists and others work and contracts are taken seriously and there is explicit quality control by observation or the building of maquettes. A particular different events over time, the ability to learn new skills that could be taken up as a hobby, and a sense of pride through strength is consultation and paid for time on local R&D. excellence. c. All this prepares stakeholders well for commissioning, but sets the bar high. The ‘triangular’ supply chain is a significant overhead and whilst it places Transported between the artist and audience to broker and enhance, there is a need to make Results: Social impact sure that it doesn’t get in the way. It is also possible that the hard work creates over-commitment and makes some decisions hard to take, where for example a project is not working. The complexity of multi-stakeholder interest, coupled with the scale 27. We consider the positive composite measure of 72% described above to be a ‘leading indicator’ of impact on audiences. of need locally, mean it will take a long time for Transported to embed. This section goes beyond audience to look at social outcomes of participation in Transported especially in four projects: a photography workshops and exhibition with Elsoms’ workforce, Spalding art trail sculptures of local people, Open Book mobile d. The team is very committed to evaluation and prepared to innovate. Highlighting value has been effective, though so far it has library project on silk painting, Open Book static library project on book-making. been implicit – through demonstration - rather than explicit. T2 will make value more explicit and focus more on sustainability.

e. There are several routes to sustainability, which could be achieved through participants continuing self-organised, artists Personal and social outcomes continuing directly or partners continuing to commission. The first of these is underway on an ad hoc basis and all these need 28. Through Transported new skills, everyday wellbeing, and more social opportunities build a greater sense of place and testing in T2. community. In turn, these have a knock-on effect on businesses who want to give something back and leaders who have begun f. Transported work is beautifully recorded, but feedback from audiences, ETAs3 and artists has been that the language and to understand the value of this kind of culture, as well as shared family experiences. In the longer term this could affect the focus of publicity and general communication needed improving. The strong brand needs careful handling so it balances with local social, health, creative, cultural and work economies. the distinctiveness of the different art. 29. Skills, wellbeing and a sense of belonging were all positively affected in all four in-depth studies, an excellent result. g. To ensure ongoing success, structurally Transported would benefit from more strategic partnership for both accountability and advocacy. With a reduced budget, AEW and ETA roles need to be embedded outside the core staff team.

h. Similarly a decision to focus on an infrastructure for the arts, rather than an arts infrastructure, has placed Transported well for a future with less arts funding. Focusing on work with organisations will help deliver this infrastructure. But there is a risk to manage that this leaves local creative people feeling out in the cold.

24. Accessible programming is key to attracting a broad audience. We found that audiences did experience events as Transported intended, as Fun, Captivating, or Engrossing. Following a broad objective to attract those ‘least engaged’ in T1, more targeting will be necessary in T2 and decisions may need to be more rigorous. For example, care needs to be taken with captive audiences, such as in workplaces, who may be more resistant and demanding than those with freedom to walk away.

a. Overall we see that the variety of projects Transported runs is good at attracting broad audiences as planned – with Fun projects attracting new and casual audiences, Captivating projects attracting a more discerning group, and Engrossing projects attracting from across the spectrum those who are more engaged. Engrossing projects attract the highest number of people who want something new (with Captivating projects in second place), and so far have the best outcomes.

On Your Doorstep. Paul Floyd Blake. © Jiri Lelek 8 2 Arts Engagement Workers 3Events Team Assistants 9 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Before and after skills, wellbeing and belonging scores in four SROI analyses (Spalding includes extra, later score) 32. The relationship between people and place is key to CPP and all projects increased a sense of belonging, again highest at 25% in A Small Library, where reduction in isolation was a huge success. The lowest score was 13% at Elsoms. This outcome has the highest value of our three main participant outcomes in national research, including within the Subjective Wellbeing Valuation approach we use. At Elsoms, even in the wider non-participating workforce, there was a 10% increase in understanding of 30 roles, the explicit objective for the Chairman.

25 33. An emergent learning was related to the difference between personal and social wellbeing. Though they can be part of 9 9 a virtuous circle, a personal experience of ‘flow’ most likely to create individual wellbeing, can be undermined by the 8.6

7.6 distractions of working in a group. 7.5 7.8 20 7.7

6.7 34. Where time or space were short, most obviously on the mobile library, outcomes tended to be more limited.

15 6 9.4 9.2 8.3 8.9 8.5 7.9 8.1 6.8 Sense of belonging Moving towards sustainability 10 6.7 Everyday wellbeing 35. Implicit sharing of the value of the arts has worked well, with lots of ongoing partnerships. Projects have so far been brave Confidence with skill and experimental and constraints have helped artists develop their artform, but they must now be reliably delivered. Explicit 9.5 9.4

5 8.6 8 7.9 7.8 7.7 7.4 sharing of value also needs developing. Building the community from the middle, using word-of-mouth and community 5.7 advocates, in the way illustrated by the ETAs, is an opportunity too. 0 36. Organisational development for businesses and public sector partners is a hidden benefit which could be a more explicit aim.

37. One side effect is that artists have diversified their artistic interests, and there are further opportunities with businesses, such as creative consultancy. Elsoms after Spalding after Elsoms before Spalding before Spalding before 38. We also know from national research that the arts help with attainment at school, and encourage unemployed people to look Faceless Arts after Faceless A Small Library after Faceless Arts before Faceless

A Small Library before for a job. They can make businesses more productive and potentially profitable, with a multiplier effect in the work economy.

39. There is evidence for transferable impact socially too, with arts participants more likely to be responsible citizens, volunteering and giving more to charity. Along with the concept of place-shaping, this could help to build ‘attachment’ and 30. In three projects skills were explicitly taught, so it is no surprise that this was the best result, but even in Spalding where social capital, which will be helpful with a growing migrant population (see main report for references). the participants were the subject rather than object of the work, there was a 22% increase in confidence with the arts. The greatest skill development was in A Small Library (39%), a book-making project where participants tended to have quite 40. Finally, to round up the ongoing opportunities, we note that the arts are also good for health, especially mental health, and the difficult lives. It is possible that the challenge of the work and the books’ acquisition into the library contributed to their new Taking pART project looks set to demonstrate impact here. And a focus on young people may also be an area to further explore. positive response. Even the smallest change was positive, an 8% increase in skills for the mobile library project with Faceless Arts. Where skills were ‘everyday’ and could be taken up as a hobby, like photography at Elsoms, outcomes were likely to last the longest. Results: What was due to Transported? 31. Increases in everyday wellbeing ranged from 27% in A Small Library to 10% with Faceless and all four ended above the local 41. Over 60% of people reported being new to the arts by engaging with Transported and less than 3% mentioned displacement average score for wellbeing of 7.5 out of 104. The groups at Elsoms and A Small Library both started out with a wellbeing score of any other arts activity. Transported was genuinely new to businesses and other organisations and especially to the ETAs below the local average, which made it easier to add value, whilst the other two projects in Spalding and on the mobile library, involved. had a baseline above average. Policy interest in wellbeing makes this a good ongoing focus for Transported. 42. Transported has also made more of a difference to some artists than other employment, through working together on a varied programme and factors that caused them to innovate.

Fenboy. Strangeface. © Electric Egg Ltd.

10 4 ONS, 2014/15, Measuring National Wellbeing 11 Transported Evaluation Report - June 2016

Return on investment FULL 43. There is an impetus to measuring value nationally, and Transported is now well placed. We recommend working with a simplified model of social value for each of the private, public and community sectors. REPORT 44. Investment from ACE was £2.6M with almost half directly on arts delivery, and cost per head (or more accurately, cost per view) ranged from around £3 to over £600 depending on the project. Three of the four SROI budgets were around the £10K mark, with Spalding at £25K and overheads on top. Overall a further£28K was raised from other sources, including earned income.

45. We used valuation methods including national Subjective Wellbeing Valuation, and an adaptation of the Willingness to Pay model for locally equivalent value of skills for example.

46. Although the personal and social outcomes of Transported’s participatory projects are excellent, the value is limited in this action research, in the main because of high costs; overheads tend to double the project costs.

47. Skills have small value in themselves, but are empowering and especially when they create tangible results are an important link in the chain leading to personal and social impact. Personal wellbeing has substantial value, similar to but exceeded by a sense of belonging. For the latter we used a Subjective Wellbeing Valuation of £3,919, for belonging in a neighbourhood.

48. The project SROIs were as follows. For each we also estimated an increased return with a 20% overhead and a medium term forecast that could be easily achieved (with the same 20% overhead). The results show the social return per input made – for example an equal output to input would give a return of 1 to 1:

a. Elsoms, 1 to 0.4 - increasing to 0.9 - with a forecast potential of 1 to 3.2 – by valuing increased productivity

b. Spalding, 1 to 2.8 – increasing to 4.2 - with a forecast potential of 1 to 7.0 by working with a more disadvantaged group

c. Faceless Arts, 1 to 1.0 increasing to 2.1. - with a forecast potential of 3.8, again by working with a more disadvantaged group or for longer to make a bigger difference

d. A Small Library, 1 to 1 – increasing to 1.3 - with a forecast potential of 1 to 3.0 by diversifying the library and attracting new users.

49. Factors increasing the return include a multi-layered, multi-value approach, a focus on social or organisational outcomes, long-term and material culture and long-term opportunities for a hobby. Factors limiting the return include operating under capacity or where participation is limited by space or access, and working with groups where it is hard to add value.

50. In conclusion, the results of Transported so far are very promising. It attracts a new audience with high quality work that makes a difference to both their opinion of the arts and their personal and social outcomes.

On Your Doorstep. Jeni Cairns. © Electric Egg Ltd.

Festivals. C4. © Electric Egg Ltd.

12 Arts and Health. Amber Smith. © Transported Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Glossary

AEW Arts Engagement Worker ETA Events Team Assistants SROI Social Return On Investment Deadweight Accounting for what would have happened anyway Attribution Accounting for what is due to others Accounting for where another service or outcome may have been displaced, rather than a Displacement genuinely new effect FEC/L coding The event typology: Fun, Engrossing, Captivating and Locally Resonant Quality Intent The collection of Transported characteristics that make up its quality/excellence throughout Creative Intent The part of quality that is about the arts process and artform Delivery Intent The part of quality that is about the management and audience decisions ACE Arts Council England CPP Creative People and Places programme, of which Transported is part

Dance Factor. © Electric Egg Ltd. Festivals. William Blakely. © Electric Egg Ltd.

About this report This report is for four key audiences:

■■ Arts Council England who funded the Creative People and Places scheme to answer 3 key research questions

■■ Transported staff and artsNK and other consortium members, to feed into review and planning

■■ Other stakeholders and partners, by way of a record and recommendations for future planning

■■ Others in the cultural sector where the information can be used, explored and tested within the wider cultural landscape

The appendices include the SROI summaries, and six project ‘dashboards’ as well as other detail. Four separate reports cover the SROI analyses in full with a further analysis due in autumn 2016.

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Creative Consultations. Jo Wheeler. © Electric Egg Ltd. 1. Context and scope

The programme

ACE vision for Creative people and places In 2012 ACE commissioned a £37 million strategic programme, across England and over three years, called Creative People and Places (CPP). 21 schemes were commissioned. The intention was that:

The Arts Council wants more people to experience and be inspired by the arts, irrespective of where they live or their social, educational or financial circumstances. The Creative people and places fund will focus our investment in parts of the country where people’s involvement in the arts is significantly below the national average, with the aim of increasing the likelihood of participation.

CPP has a focus on excellence, action research, partnership, sustainability and shared learning, in the following locations:

Creative People and Places location On Your Doorstop. Richard Janes.© Electric Egg Ltd. Transported

Transported Transported is a three-year programme for Boston and South Holland, launched in May 2013 and completing its third phase at Appetite, Stoke-on-Trent March 2016. In this area participation in libraries, museums and the arts was between 6% and 14% lower than the England average in 2012. Transported received £2.6M of funding and anticipated raising a further £238K. It was one of the first CPP programmes to Art for Hull be commissioned. Bait, SE Northumberland Creative Barking & Dagenham As well as engaging those less engaged with high quality arts, Transported aimed to reach beyond arts participation to create Creative Black Country social impact. Projects specifically targeted the public, private and community sectors and included audience and participatory experiences as well as public art. The team worked on sustaining the value of the investment by bidding for further funding to CPP Hounslow local businesses, the Arts Council and other public funds, as well as working with the voluntary sector to leverage resources. It Creative Scene, West Yorkshire was awarded ACE funding at the end of 2015 for a further three years of delivery, and has raised money from local mental health East Durham Creates sources and the local authorities as well as earned income. First Art, Ashfield, Bolsover, i Mansfield, NE Derbyshire Boston and South Holland are ‘statistical neighbours’ to each other in national terms, along with Fenland, Doncaster, Mansfield, Derby and Bolsover from the CPP programme, so that First Art, Market Place and Right Up Our Street are the CPP programmes most Heart of Glass, St Helens relevant to compare once evaluations are complete. Home, Slough Ideas Test, Swale & Medway LeftCoast, Blackpool & Wyre Local Context Luton Creates The Borough of Boston and the District of South Holland are in the South East Lincolnshire Fenland, bordered by conservation Made in Corby areas of marshland and the sea. The area’s heritage is related to this natural environment and trade links. Market Place, Fenland & Forest Heath Both Boston and South Holland are sparsely populated, though their populations are growing including a migrant population. They Peterborough Presents are predominantly white. Boston town is a centre for the south-east of Lincolnshire serving around 100,000, with a population Right Up Our Street, Doncaster itself of about 65,000, most of whom live in the town and five other large villages. Most people are from a white ethnic background and Boston also has the highest percentage of migrant workers in England and Wales at over 1 in 10. In South Holland the main Super Slow Way, Pennine town of Spalding is home to 28,000 out of a total of 89,000. The district has a total of 47 towns and villages. 97% of the population Lancashire are classified as White British, although the district has also seen a large influx of migrant workers in recent years (approximately The Cultural Spring, 5000 from mainly Poland, Latvia and Lithuania). It is an ageing populationii. Sunderland and S Tyneside

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Transported’s area, the local authority areas Boston and South Holland In Boston, Blackfriars Theatre runs events throughout the year including local performances by Boston Playgoers and Boston Guildhall Museum provides a cultural centre. The Sam Newsom centre, part of Boston College, and The Giles Academy have an arts focus and Boston has active music, theatre and art groups. There is also a community of individual artists and makers and some craft focus to markets and funfairs.

South Holland has an arts centre in Spalding (The South Holland Centre – part of the nearby Lincolnshire One Venues NPO), a wide range of artists’ studios and a number of amateur dramatic societies, choirs, theatre companies, youth groups and dance schools. Venues such as Ayscoughfee Hall Museum and Long Sutton Market House host arts activities and festivals.

In 2010 Cultural participation was lower than across England and other participation indicative of a physically, culturally or socially active community is also low, for example engagement in campaigns or movements like Fun Palaces or Transition towns.

Cultural participation from the Active People survey 2010:

Libraries Museums and Galleries Arts

England District Council average 44% 51% 45%

Boston 32% (-12%) 39% (-12%) 39% (-6%)

South Holland 37% (-7%) 37% (-14%) 37% (-8%)

Though there is a risk of contradiction it is worth noting that an ACE report on ‘rural-proofingiv’ showed that rural populations, including in East of England, have higher rates of regular arts engagement than those in urban areas, despite the fact that in general arts investment is less per head and that NPO touring is under-serving East Anglia. It seems likely that the reason for this is fewer competing opportunities. They propose a model of hub towns to address this that it may be useful for Transported to explore in T2.

Health, social and economic contextiii The health priorities in both areas are related to alcohol, tobacco and obesity. In terms of wellbeing, Boston and South Holland have the national average score for all of the four measures recorded by the Office of National Statistics (ONS); life satisfaction, feeling life is worthwhile, happiness and absence of anxiety.

In both areas average deprivation is lower than for England1 but most people live in areas that are slightly deprived. GCSE results are considerably below the England and regional average in Boston, with 51% getting 5 A*-C GCSEs (61% in England). In South Holland the figure is 57%. Agriculture, horticulture and food processing significantly influence the local economy. Employment is higher than the national average in Boston at 83% (compared to 71%), and close to the average in South Holland at 70%. Homelessness in Boston and South Holland is among the lowest in England and there are better than England average figures for child poverty, crime and drug misuse.

Cultural and community context There is only one National Portfolio Organisation (NPO) in the area, NK Arts Partnership, and in common with many rural areas most of the existing provision is low key. Festivals. Ruth Pigott, Julie Willoughby and Jo Freya. © Electric Egg Ltd.

1 60% of the population live in the 40% most deprived areas in the country, and none living in the least deprived Quintile. 18 19 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

2. The Evaluation Methodology Methodology In this evaluation, we use a ‘broad and deep’ methodology to go beyond participation, inspiration and excellence and make the case to partners outside of the arts using a social value approach. These are the key elements: Purpose and scope 1. An overarching Story of Change developed for the programme (see our animation); the ‘Quality Intent’ and chain of events that The scope of this evaluation extends to all three phases of Transported’s programme. As well as responding to the ACE research frames the evaluation, establishing: Broad audience and events analysis, from surveys at all Transported events combined brief, the team is interested in the knock on effect in communities, so in all asking: with Audience Agency analysis For ACE:

1. Are people from places of least engagement experiencing and inspired by the arts? (we frame this as about demand) What? Why? 2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved? Who? How? Delivery and Creative The difference (about supply) The people who matter Quality Intent Intent Transported makes 3. Which approaches were successful and what were the lessons learnt?

To show social and cultural value:

■■ Which of the tangible delivery outcomes and personal and social outcomes identified in the ‘Story of Change’ were achieved? 2. Project typologies and management information to ‘code’ all projects. Participatory and audience experiences were coded How valuable were they? as ‘Fun’, ‘Engrossing’, ‘Captivating’ and ‘Locally Resonant’, devised from empirical analysis and a review of the Quality Metrics and LARC Intrinsic Impacts of the Arts work. Management information was used to code projects by costs and the way that ■■ Were there indications that the economic outcomes could be achieved in the longer term? the work was purchased or commissioned.

3. Whole programme evaluation then looks at which approaches work; how the Quality Intent leads to outcomes, looking Stakeholders at management of the programme and using project typologies, costs, commissioning information and demographics to There are four key stakeholder groups each with a different depth of engagement and experiences – from a broad development of compare for different groups. Though initially intended to allow extrapolation, the evaluators’ felt it was too soon and the supply and demand to an in-depth focus on personal and social outcomes: data wasn’t strong enough in this first phase of Transported.

1. New audiences – a broad group with a relatively light touch experience 4. Four in-depth SROI analyses with public, voluntary and private sectors. SROI analyses combine narrative with numbers; a story about the difference we make with proxy values so things can be compared. They create a value for money ratio of 2. Participants – a more focused and in-depth experience for a smaller group. This includes participating partner organisations. return on investment. At the heart of SROI is the principle that we are guided by the participants themselves in measuring what really matters, and are careful not to over-claim. The four analyses are: 3. Transported artists and Arts Engagement Workers (AEWs) – a broad approach to developing skills and an infrastructure ■■ Two projects from Open Book in mobile and static libraries; a silk painting and a paper sculpture project, with Faceless 4. People who are part of the local economy, including local leaders and Events Team Assistants (ETAs)– an in-depth experience Arts and the Eloquent Fold with the potential for significant impact ■■ An art trail installation by Joseph Hillier with Spalding Civic Society and local schools of 3-D sculptures of local people Additional stakeholders for reporting purposes are ACE and other CPP organisations. in context

■■ A photography project and exhibition with Elsoms seed company workforce

20 21 Art on Lorries. Sarah Brown. © Electric Egg Ltd. Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

2a. Evaluation Framework This framework shows how the ACE research questions fit with a longer-term objective to make a difference to the wider economy in south Lincolnshire.

Question 1 is answered by looking in detail at the people who were audiences and participants at Transported’s programme. It touches on how inspirational their experience was, but this is dealt with in more detail in Question 3 and the section on social impact.

Question 2 is answered by exploring how Transported managed excellence; its ‘Creative Intent’ and the immediate, tangible delivery outcomes. The section completes with a short piece on the experience of audiences, but this is explored further in question 3 about what works and in the section on social impact.

Question 3 explores which approaches work throughout; whether the ‘Quality Intent’ leads to outcomes. The Quality Intent is made up of both ‘Creative Intent’ and ‘Delivery Intent’ and includes leadership and vision as well as general management of the programme. The section completes with a piece on the experience of audiences, and this is explored further in the section on On Your Doorstep. Joseph Hillier. © Electric Egg Ltd social impact.

Consultation and evidence How and what? ‘Quality Intent’

■■ Information on the first two phases of Transported’s work was gathered from existing data, reports and interviews creating six case study ‘dashboards’ (see appendices) which shaped the Story of Change. This was then checked and further developed Vision, leadership and resources with a stakeholder workshop and stakeholder survey. The vision for the work was of excellence threading through inspiring approaches in everyday spaces, with a particular focus on local need and relevance, or Local Resonance. We summarise this as making the everyday exceptional. ■■ Audience and delivery data is based on information collected by Transported ETAs at all events and held in Transported’s Lamplight database. The range of data collected has been adapted over time to include a question to test ‘displacement’2, Resources included £2.6M of public investment as well as under-used places in the community and work space, and significant another to understand the cost to the audience of attending and one about whether they would continue to participate to get time and commitment from partners. There was an intention to improve the local area with tangible results. a sense of the sustainability of their demand. We also asked about which approaches work best and areas for improvement. This report is based on data from Sept 2013 to end December 2015. The data comes from the 2,716 valid questionnaires completed during this period. These questionnaires come from a sample of 161 events or events series, covering 45 of the 54 Delivery Intent projects taking place in this period. Delivery Intent refers to communications, managing the programme, developing the arts, and the structure and infrastructure with which Transported works. Working with this Story of Change helped the team to confirm a focus on ‘developing an ■■ This data provided demographic information on the audience, as well as their self-defined previous levels of engagement and feedback on their reasons to attend and experience of the event. infrastructure for the arts’ rather than an arts infrastructure. It includes establishing the general and ongoing focus on what is local, improving public space and celebrating local people, place and heritage. ■■ Postcodes from this data were tagged against the marketing segmentation tools Audience Spectrum and Mosaic by the Audience Agency.

■■ It also provided our ‘leading indicators’ of plans to continue with the arts, would like more and would recommend. Our DIY. Peter Tree. © Transported. key leading indicator composite is our proxy for ‘successful outcome to participant/attender’. It is calculated as positive if respondents answer YES to ‘I plan to attend another event as a result of this AND either ‘I would recommend’ or ‘I’d like more events like this in my area’.

■■ Information on costs was calculated using budgets and timesheets as a ‘driver’ to allocate overheads. The management team allocated other codes that defined how projects were commissioned.

■■ Surveys were undertaken with partners, local artists and the audience.

■■ Data was collected in a variety of ways for the SROI analyses, with participants completing self-assessment postcards and ETA observation and interviews generating more qualitative learning.

2 Displacement is the concept of replacing rather than creating new demand. For example, if the audience already attended other arts activities but 22 was now instead participating in Transported. 23 Transported Evaluation Report - June 2016

Creative Intent Creative Intent has been framed in the evaluation using an event typology, so we can see which approaches were successful and what lessons were learnt. This typology is kept simple. Audience events are coded as Fun or Captivating, and participatory events as Engrossing. All events are also coded according to how Locally Resonant they are. Transported Evaluation Report - June 2016 ■■ Fun – a light touch experience for audiences which tends to be social and energetic. An example is the festival events.

■■ Captivating – a light touch experience for audiences which tends to be aesthetic and reflective. An example is the one to one Evaluation framework/chain of events shaped by Quality Intent to test what approaches work experience in the Whale at Tulipmania.

■■ Engrossing – a deep experience for participants so they experience ‘flow’. An example is the participants in the dance project How? What? Why - the difference it makes at Elsoms. Quality intent 3 Leadership Resources Delivery Intent Creative Intent Tangible Delivery Outcomes Personal and Social Outcomes Economic Outcomes ■■ Locally resonant – an experience which is particularly rooted in the local people, place and heritage. An example is the Long Sutton installations. Exploring what works will establish the importance of these delivery themes and how they might overlap. Demand: 1 Arts that inspire and engage Why? The difference Transported makes Meet local Time & Celebrate Transported’s outcomes start with tangible, delivery outcomes which create personal and social outcomes and ultimately needs & make commitment people, place the everyday economic outcomes (in the broadest sense of economy). Tangible outcomes include the participation of new audiences and the of partners & heritage New Increase demand by exceptional Create material delivery of excellent art, as well as new material culture or the installation of new public art. They are a precursor to a virtuous Audiences people from places of culture focused least engagement circle where everyday new skills, wellbeing and more social opportunities build a greater sense of place and community. In turn Fun on local history & community Develop skills Quality: Better family these have a knock-on effect on businesses who want to give something back and leaders who understand the value of this kind of Develop & awareness of Excellent art and engagement leisure time culture, as well as shared family experiences. In the longer term this could affect the local economy – the social, health, creative, partnerships & Participants: arts & place Workforce & Sense of communicate Captivating Local savings cultural and work economies. Highlight value quality & values local history, place & from healthy of quality community Local people in society arts & share Everyday leadership roles commissioning (Action) wellbeing know the value of Make things Public Engrossing Artists & Staff: skills Research & quality arts relevant investment Community & Develop quality Local development Local arts practice with investment in communities the arts Commercial Organisations Locally pride & ‘give’ back’ & Supply: resonant Increase supply of commitment develop Programme People in the excellent art and Art in everyday places, rural and town Improve public management, local economy engagement commissioning spaces & support

Improve public Use arts to Under-used, space, develop improve the everyday places & infrastructure local area resources for arts 2 Creative Intent Tangible Delivery Outcomes

25

24 Community Events. Fabularium. © Electric Egg Ltd. Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

3. Results 3a. Results: Delivery summary Results are split into these sections: Three phases of work Delivery summary Transported had three distinct phases with different focus. It was launched early May 2013 in Holbeach to 4,000 people. The first phase was a consultative review in order to inform the development of the programme. The team took work on the road to test the appetite of the community with 7,000 people. The main areas of questioning in the review were: ‘You, Your Culture, Where You Live’ ACE research questions and the findings are reported in a Transported Phase I Review.

1 Are people from places of least engagement experiencing and inspired by the arts? (Demand) The second phase built on the outcomes of this initial work with a wide-ranging 11 strands of work developed in the Phase II 2 To what extend was the aspiration for excellence of art and engagement achieved? (Supply) outline, including; Haulage, Festivals, Open Book, On Your Doorstep, Past Inspired (Partnership projects with heritage venues and organisations), Public Art Commissions, Transported Live, Pop Up Shops, DIY (Programme of sustained workshop activity), 3 Which approaches were successful and what were the lessons learnt? Community Events and further Consultation. The team also ran an ongoing Quality and Innovation Programme. More about the projects can be found in Transported’s website section Past Projects. Social impact In the third phase attention to sustainability focused in on partnership and value. The team worked with the voluntary, public and private sectors, on seven strands they considered most likely to deliver sustainable developments. Personal and social outcomes ■■ On Your Doorstep & Public Art: improving local spaces including with community groups ■■ Audiences ■■ Community Events & Festivals: including the arts in existing events ■■ Participants ■■ Open Book in libraries ■■ Families ■■ Transported Live: delivering live performances to local people and in the workplace Moving towards sustainability in the local economy ■■ Haulage: working with the haulage business sector ■■ People in the local economy ■■ Taster: arts participation ■■ Artists ■■ Arts & Health: arts participation explicitly for health ■■ Opportunities for longer term impact

What was due to Transported? The whole programme In all, just under 900 events generated the audience of 73,000 attendances, an average of 81 attendances per event. We estimate 65,000 were individual attendances, and 8,000 repeat attenders.

Most events were workshops (626). Overall where known, three quarters of engagement were as an audience member (49,000), with a quarter being participation (17,000).

Most events (509) focused on visual arts with around 440 performing arts events too. The highest attendance per event was at outdoor events. Most events were in Boston which made up 378 of the events. Spalding was home to about half the attendances of these Boston events, and together they made up most of the audience. However, there was at least one event in every village.

Open Book. Faceless Arts. © Faceless Arts. 26 27 On Your Doorstep. Julie Willoughby. © Electric Egg Ltd. Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Examples of projects which we refer to in this report include (see appendices for more detail): Main art forms and participation levels

■■ A contemporary dance residency in the canteen at Elsoms seed company by Assault events, including a local school Art Form Number of attendances Number of events Mean participation partnership and performed to staff, families and students. This project preceded the photography project which we analyse Main art forms for Social Return On Investment. Visual Dance 30,290 509 60 ■■ Performances of Fen Boy by StrangeFace using masks and puppets developed with a school and performed on the back of FreshLinc lorries with interactive ‘behind the scenes’ workshops. This was particularly useful for attracting people whose Dance 8,982 271 33 first language was not English. Theatre 22,060 168 131 ■■ A project at Fenside Community Centre to create a living history book from people’s photos and new pictures taken by the Unknown 601 64 9 artist Paul Floyd Blake, with the spin-off of a new photography club. Outdoor Art 10,389 39 266 ■■ Art on Lorries with local company FreshLinc. Alisha Miller worked with farmers, pickers and packers to define and create Lincolnshire landscapes to adorn the side of lorries, the project was launched at Westminster, resulting in increased morale Other 2,667 36 74 and drivers bringing families to other events. Digital 2,263 29 78 ■■ A Journey to the Centre of Your Heart with Eric MacLennan in 5 libraries, including with staff, featuring amongst others a 14- Music 8,857 25 354 yard journey across the library, seeing the extraordinary in everyday objects. Museum/Gallery 3,119 17 183 ■■ A creative commission with Francois Matarasso to work with 14 village churches as centres of community, co-producing a book of verbatim stories called Lightships. Each church had 100 books to sell. Combined Arts 608 12 51

Event type and participation levels Film 646 11 59

Event type Number of attendances Number of events Mean participation Large events accounted for the bulk of the participation, with 40 very large events accounting for nearly two-thirds of the engagement. According to our FEC coding, events split as below. We can see a general alignment, with Fun events tending to be the Workshop 18,342 626 29 large events. We would expect the small and medium events to be where Engrossing events sit. Though attendance was highest at Performance 25,843 162 160 Fun events, it was well split across the types. Partnership Meet 651 130 5 Half of attendance is at projects which are considered Locally Resonant to some extent. Almost half of attendance was to events run by local artists and three quarters of attendance was at commissioned events. Exhibition 14,514 75 194 Talk 1,725 35 49 Market Stall 1,933 21 92 Unknown 489 19 26 Installation 39 9 4 Training 74 6 12

Art on Lorries. Sarah Brown. © Electric Egg Ltd. 28 29 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Number of small to large events Participation at small to large events Working in partnership 1,709 Many strands were designed to deliver in partnership, either adding value to existing activity, like at community events or festivals 6,570 and in libraries, or in surprising new venues, like live performances for people in the workplace and working with the haulage 40 business sector. Several of these became ongoing partnerships. Latterly a new partnership was also developed with the health sector. By way of example:

■■ Many projects have taken place in libraries, most recently a new mental health project called Taking pART for mixed groups 155 by referral or self-selection. This builds on projects like A Journey to the Centre of Your Heart, and the SROI analyses included 316 here in both static and mobile libraries.

17,083 ■■ Businesses have been involved in various projects, for example two projects preceded the photography project at Elsoms, 47,272 the Assault Events dance residency, and a hosted performance of Fen Boy. At FreshLinc, the company’s lorries were used as a touring performance space for Fen Boy, and as a huge canvas for landscapes of Lincolnshire. 246 ■■ Schools were involved in developing the projects at Elsoms and FreshLinc, and in the R&D for the Spalding art trail we analysis in this report. Schools began to send students to other Transported events and Elsoms hosted work experience for them.

■■ New health partnerships have been developed with the Managed Care Network supporting those with mental health issues through a variety of community based activity, in a very positive new relationship.

Small Medium Small Medium

Large Very Large Large Very Large

Notes: Small = <12, Medium = 12-49, Large = 50-299, Very large = >300

Number of FEC projects Participation at FEC projects

70

18,746 25,813 236 439

16,791

Engrossing Captivation Engrossing Captivation On Your Doorstep. Craig and Mary Matthews. © Electric Egg Ltd.

Fun Fun

30 Notes: F = Fun (audiences), C = Captivating (audiences), E = Engrossing (participation) 31 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

3b Results: ACE research questions Who were the audiences?

General Demographics 1. Are people from places of least engagement experiencing and inspired by the arts? Far more women than men; 74% compared with 25%, completed the questionnaire (although this will be affected by the tendency reported by ETAs for the woman of a family to complete the questionnaire ‘for the group’). Respondents were all ages, with just A note on content under half aged 25-45 (under 16s have been removed from this calculation as the sampling tended to exclude them). This section explores in detail the people who were audiences and participants at Transported’s programme. It touches on Age range of people who attended how inspirational their experience was, but this is dealt with in more detail in Question and the section on social impact (see evaluation framework). The evidence for this section came from the large-scale event survey that Transported ETAs delivered over the three years and includes analysis by Audience Agency. 30

Where were audiences from? 25 Attenders came from across South Lincolnshire and beyond, with a definite concentration in the local area. Attenders came from right across the local area, further analysis of postcodesv showed that although some areas had a higher likelihood of attending, 20 in no areas of Boston and South Holland was engagement particularly low. The ‘penetration map’ (burgundy shaded map) shows that in all areas of the boroughs at least 1% of households took part in Transported (and gave in their postcodes). 15

Transported attendance from across Boston and South Holland showing Boston and South Holland showing the UK addresses of event attenders (sample) penetration into all postcode sectors 10

5

0 16-24 25-34 35-44 45-54 55-64 64 plus

Most people came with family at 70% of respondents, with 23% coming with friends. 7% came with a group (not friends or family) and 7% of people said they’d come alone.

The majority of attenders, 87% considered themselves White British, while 7% considered themselves Eastern European/White Other. Through asking people’s ‘main language’ we gained a sense of the new migrant attendance (although this is likely under- reported). The main language groups in the area according to Lincolnshire County Council are Latvian, Lithuanian, Polish and Russian. Around 9% of those asked claimed another main language than English (see table below) with around 2% speaking Latvian, Lithuanian and Polish, and a few speaking Russian, Portuguese and French (1% each).

The findings of this indicate the need to carry out some research in the three top languages – as we have to assume this significantly under-reports as those with more issues with English may not answer at all.

© The Audience Agency and Experian Ltd.

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Languages represented Local population and attendance by Mosaic code. Highlights show where attendance is most divergent from population for relevant groups. Language Number respondents % respondents 40 Transported participants English 941 91% Largest

attendance & 36% 35% Boston and South Holland Latvian 20 2% population 35 Lithuanian 23 2%

Other (not below) 12 1% 30

Polish 24 2% 25 Attracts below Attracts above Russian 12 1% population population 20 Portuguese 7 1% 16% 13% Chinese (Cantonese/Mandarin) 4 0% 15 11% French 6 1% 11% 7% 10% 10 Other East European 5 0% 5% 6% 7% 7% 7% 5% 3% 5% 5 3% 3% 2% A tenth of people who replied consider themselves to have a disability. The official estimate for percentage of working age people 3% 2% 3% vi 0% 0% 0% 0% with a disability or long term illness is 16%, this rises to 45% at above 65 . 0% 1% 0% 0% 0 Mosaic coding It was decided not to ask people directly about their socio-economic group because of both the difficulty of collecting accurate

data and concern over being intrusive. Instead postcodes were collected and run through Mosaic, which allows us to categorise D. Rental Hubs D. Rural Reality D. Rural I. Family Basics I. Family L. Vintage Value C. Country Living A. City Prosperity E. Senior Security audiences according to general consumption patterns and behaviours. This can be used as a proxy for socio-economic class. This N. Urban Cohesion J. Transient Renters Transient J. F. Suburban Stability F. B. Prestige Positions G. Domestic Success M. Modest Traditions

analysis is based on data from the whole programme, collected by Transported. K. Municipal Challenge H. Aspiring Homemakers We already know that Boston and South Holland see low participation generally. To be successful, Transported would want attendance to at least be representative of the local population, but ideally to be attracting more from groups that tend not to go to the arts.

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Description of main Mosaic groups and types living in the area Transported attracted numbers above the resident population of Boston and South Holland in two types, both of which are its target market - those who don’t traditionally attend the arts: Code Description ■■ ‘Family Basics’ which makes up 7% of Transported attenders and 5% of Boston and South Holland households. These are Rural Reality are people who live in rural communities and generally own their relatively low families with limited resources who have to budget to make ends meet. Group D - Rural Reality cost homes. Their moderate incomes come mostly from employment with local firms or from ■■ Of this group the biggest sub-group represented was Families with needs: Families with many children living in areas of high running their own small business. They are most likely to be aged 46-55. Within this group. deprivation and who need support, these made up 5% of Transported attenders compared with only 2% of the local population. Mature households living in expanding developments around larger villages with good D14 - Satellite Settlers ■■ ‘Transient Renters’ which makes up 16% of Transported attenders, above the 13% of Boston and South Holland residents. transport links. These are single people, mainly younger, who pay modest rents for low cost homes. D15 - Local focus Rural families in affordable village homes who are reliant on the local economy for jobs. Transported is attracting lower than the population proportion of: D16 - Outlying Seniors Pensioners living in inexpensive housing in out of the way locations. ■■ ‘Senior Security’ and ‘Suburban Stability’ which together are 17% of the Boston and South Holland population, and only 12% Senior Security are elderly singles and couples who are still living independently in of the Transported audience. These are Elderly people with assets who are enjoying a comfortable retirement. They are not comfortable homes that they own. Property equity gives them a reassuring level of Transported’s target market. Group E - Senior Security financial security. This group includes people who have remained in family homes after their children have left, and those who have chosen to downsize to live among others of ■■ The largest single group within the area, and within the Transported audience is ‘Rural Reality’ which makes up around a similar ages and lifestyles. third of both groups. These are people who live in rural communities and generally own their relatively low cost homes. Their moderate incomes come mostly from employment with local firms or from running their own small business. Group E19 - Bungalow Haven Peace-seeking seniors appreciating the calm of bungalow estates designed for the elderly. Although it is hard to directly align Mosaic groups with income, we can say that Transported’s audience isn’t likely to have a higher Transient renters are single people who pay modest rents for low cost homes. Mainly income profile (or other socio-economic capital) than the local population. Group J - Transient Renters younger people, they are highly transient, often living in a property for only a short length of time before moving. 40% earn less than £15k per year, most earn less than £25k. Audience Spectrum Renting a Room are among the most transient of this group – being short term renters of Group J43 - Renting a Room Further analysis of audiences has been provided using the Arts Council commissioned Audience Spectrum tool developed by the low cost accommodation often within subdivided older properties. Audience Agency. This allowed categorisation of audiences according to their likelihood to engage with different types of arts and Family Basics are families with children who have limited budgets and can struggle culture. Group I - Family Basics to make ends meet. Their homes are low cost and are often found in areas with fewer When grouped into medium and low attender groups (the yellows and the blues on chart) Transported’s audience profile more or employment options. less matched the local population, which itself is skewed towards those who don’t normally attend the arts: Group I39 - Families with Needs Families with many children living in areas of high deprivation and who need support. ■■ 49% from medium attending groups (compared with 51% locally), Country Living are well-off homeowners who live in the countryside often beyond easy commuting reach of major towns and cities. Some people are landowners or farmers, ■■ 49% from low attending groups (compared with 48% locally). Group C - Country Living others run small businesses from home, some are retired and others commute distances to professional jobs. Older households appreciating rural calm in stand-alone houses within agricultural Group C12 - Scattered Homesteads Festivals. Acrojou. © Electric Egg Ltd. landscapes.

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Local population and attendance by Audience Spectrum code. Highlights show groups of particular interest. Description of Audience Spectrum groups

Audience Spectrum Groups prevalent in the Transported area (propensity to engage in the arts in brackets) Transported participants Largest Boston and South Holland Population attendance & Trips and Treats 25 population Mainstream arts and popular culture influenced by children, Most under- Largest 23% 22% 22% 19% family and friends represented attendance & (medium) population 20 13% 16% 13% 17%

15 Facebook Families Younger surburban and semi-urban, live music, eating out and 13% 13% 12% 11% (low) pantomime 10

5 2% 1% Home and Heritage 1% 1% Rural areas and small town day-time activities and historical

0% 0% 0% 0% events 0 (medium) Heyday’s Up Our Street Up Our Street Modest in habits and means, popular arts, entertainment and Metroculturals Trips and Treats Trips museums Facebook Families Facebook

Home and Heritage (low) Experience Seekers Kaleidoscope Creativity Dormitory Dependables Commuterland Culturebuffs Heydays Older, less engaged, crafts, knitting, painting, sheltered housing, (low) church group or community library This shows that in general Transported attracted audience from across all the local population groups. The largest under- representation was ‘Up our Street’ (13% of the audience compared with 17% of the local population – although again this changes in the last year). This group is described as ‘Often living reasonably comfortable and stable lives, a group that engage with popular In general the groups that were well represented in Transported were those less likely to attend the arts, and the groups that arts and entertainment and museums, and are also visitors of heritage sites’. Attracting this group to Transported events could be were under-represented in Transported were those that are more likely to be arts attenders, another positive result (although not a way of enhancing the range of people reached. statistically significant).

The largest two groups are Attendance, local population and England population by AS group

■■ ‘Trips and Treats’ – a medium attending group, described as being interested in ‘Mainstream arts and popular culture [and] England population Local Population Transported audience influenced by children, family and friends’ 23% of the Transported audience, 22% of the local population, And Groups highly likely to attend the arts 24% 1% 1% ■■ Facebook Families, who are traditionally low attenders of the arts. This group is slightly over represented at 22% of the audience, as against 19% of the local population (and 10% of the national population). The Facebook Families group is Groups with medium likelihood of attending the arts 42% 51% 49% described as ‘Harder pressed and financially stretched suburban and semi-urban households for whom arts and culture plays a small role’. Groups with low likelihood of attending the arts 34% 48% 49%

Both these groups have dropped in representation in the last year. Whilst overall these results are positive, we have seen a shift in phase III to more middle-class, traditional arts audiences. We think this is likely to be due to the business model changes as audiences and partners are having to contribute financially. For example, there are more middle class audiences at paid for workshops, and a more cautious approach from Elsoms which may be

38 39 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

due to contributing to the budget. This makes it all the more important to start to explicitly show the value of the work. Participants’ history of participation Nationally, in 2015, 76% of adults had attended or participated in the arts at least once in the previous year. This figure has What prompted the audience to come? remained remarkably stable over the last ten years. Using this as a comparator, we can assume that without Transported, it is likely that arts engagement levels in Boston and South Holland would have remained at similar levels to the last recorded measure People heard about the event through a range of routes, with around 15% finding out from Transported’s paper based promotion of 39% of adults in Boston, and 37% in South Holland engaging in the arts at least three times a year. (posters and flyers) and 46% via Transported’s electronic/social media work. Word of mouth and serendipity were also important factors as 20% just came across the event and 20% heard via word of mouth. 12% heard via the local press or radio, and 6% via the It is clear that Transported audiences included some of the over 60% in both areas who didn’t engage in the arts: local council or the venue. ■■ 67% of respondents said the activity was new to them (agree or greatly agree with statement: this activity is new to me). How people heard about Transported ■■ 39% of people said they had attended an arts activity in the last 12 months, meaning around 61% were new to the arts this year.

Transported ■■ 16% claimed not to have attended any cultural activity in the last 12 months (arts, galleries and museums, heritage or libraries). Electronic Material (paper) Word of mouth Stumbled across Press/ media Other body promoting

1141 388 496 512 295 153 Audience response The final feedback on audiences comes from their response. As well as people from places of least engagement experiencing the 46% 15% 20% 20% 12% 6% arts, they were inspired by what they saw. Audiences are extremely positive about Transported events. We also anticipate that the People said they attended for a range of reasons: statements here are ‘leading indicators’ of greater impact: ■■ 92% say they’d like more activities like this in their area. ■■ Around a quarter attended by chance, ■■ 93% say it is something they’d recommend to other people. ■■ 23% to do an activity with family and friends ■■ 78% of people say they feel inspired to attend the arts in future as a result of this. ■■ 29% came for ‘the general appeal of the event’ We create a composite indicator, showing that 72% of audiences are both inspired to attend more arts, and would either ■■ 20% wanted to try something new. recommend it or like more activities themselves, a very good result which has improved since phase II. However, we need to ■■ The largest group (one third of all respondents) came ‘to support local events’. ensure this is not because a different demographic is being attracted who are more familiar with the arts. Continuing to collect this data will allow us to identify trends eventually over six years. Reasons for attending Would like more Would recommend Feel inspired/ do more Composite

All Transported 92% 93% 78% 72% 0 5 10 15 20 25 30 35 Phase 2 87% 89% 76% 67%

Try something new Phase 3 95% 96% 79% 75%

To support local Even among those who felt they already attended art, there was a qualitative change in their sense of engagement with art, and events breadth of engagement, for example, in the final audience survey people said:

The general appeal of Although I’m already involved it has opened up the possibilities of visiting other places in the area that I hadn’t thought of before. the activity As a practitioner, I rarely went to events, seeing them as a busman’s holiday, but now am more likely to visit events and occasions Spend time with with my family. family/friends

Happened to be in the I already visit live theatre regularly but Transported has given me the opportunity to take part in creative activities. area Some participants set up ongoing groups to develop the artwork they had learnt, for example people in the Small Library project

40 41 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

set up their own art group, and the community at Fenside established a photography club; a glass group was established at 2. To what extent was the aspiration for excellence of art and excellence of the process of engaging Algakirk and one artist described a seriously ill man who now sketches from his wheelchair whilst his wife shops. communities achieved? Participating partners were on the whole keen to engage with new projects and most relationships are ongoing, for example in the libraries and with Elsoms and FreshLinc. A note on content For this section we examined how Transported managed excellence; its ‘Creative Intent’ and the immediate, tangible delivery outcomes. The section completes with a short piece on the experience of audiences, but this is explored further in question 3 about what works and in the section on social impact. To understand creative quality, we interviewed six artists and the directors, surveyed artists broadly across the area, analysed audience feedback, analysed Transported’s documentation, and compared results with national quality research.

Creative Intent

The right artist for the job Creative Consultations. ©Electric Egg Ltd. Getting the right artist on the project is essential and they need to be strong communicators as well as artists. At the same time, they are not just communicators; they need to understand the difference between an arts project and consultation - directors. On one project the team selected a Turner prize short-listed artist, but heard that the workforce wanted another less renowned artist who they felt understood them. The second artist was commissioned and delivered both an excellent experience and work.

These are artists with commissioning skills, they have strong ‘customer service’ focus and they know how to respond to a brief. They can consistently put the conditions in place for people to have a quality experience and for there to be an authentic relationship – You have to be a certain type of artist to work with Transported, they don’t work with artists who trot out the same old stuff – commissioned artist. They may have explicit methodologies to do this, like Assault’s ‘creative consultancy’. And they also serve commissioners well by keeping to the brief. As an artist you need to demonstrate you can respond to the brief and get it. I would say as an artist I have always got an eye on what I said I was going to do...I track the progression of the project – artist.

As is so often the case in the arts, these artists tend to be highly committed and sometimes it is artist’s commitment to over- delivering that makes things work, a strength and a weakness of the sector; the previous artist had embedded herself in the community, she had got up at 5am in the morning and worked with people picking cabbages....it was hard not to compare – local artist. We see this in the in-depth analyses, where artists routinely put in more time than their contract unbidden by Transported.

It may be an ongoing challenge to secure artists of this quality. Travel challenges in particular sometimes mean it is a hard to Taster. artsNK Dance Team. get artists to the area and because many come from out of area, they also need time to get to know the community. More peer learning, planned for T2, will enhance the appeal and quality of local work.

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Combining excellent process and art The variety of work created was important in attracting different audiences, at different levels of engagement and creating cross fertilisation. This was true for partners and artists, as well as audiences. One photography artist described it having ‘opened his This combination of an accessible process and excellent art is manifest in how Transported breaks down barriers and inspires eyes’ to theatre. people. It might seem rather obvious, but is perhaps worth stating that high quality is great but if it doesn’t engage anyone, it hasn’t done its job – artist. This means the team has tended to buy in single events and focus on commissioning. Transported To understand which of these approaches worked for whom, we worked with the Transported team to apply a typology of Fun and artists are in strong agreement that the excellence should be in the process as much as the product. Captivating for audience projects, and Engrossing for participatory projects, as well as a code for Local Resonance. We explore the results of the varied programme in detail below in Question 3. Sometimes quality is about creating a world-class project locally. For example, Joseph Hillier’s work in Spalding was creating life portraits of people in their everyday lives, to create a portrait of the town that reflects it back to the people in an open, unguided way. He invited them to the museum bringing objects that showed their connection to the place and talked to them about their Tangible results lives. There are now 14 sculptures in everyday spaces; outside the butchers, by a down pipe between a shop for example – from a girl on her mobile to a blacksmith at work. Transported installations improve the public space making it more ‘liveable’, and new material culture enhances venues like libraries, churches and community halls. This is valuable in itself, but is also an important link in the chain of events that leads to personal and social outcomes, from the LightShips book compiled of stories from local villages, to the beautiful installations at Long Sutton. They are also an ongoing reminder in communities to reflect. We saw the value of this in our SROI analysis for Spalding, which has the highest return of our SROIs and where the artist describes how these objects will be a focal point... helping people to think about their own identity – artist.

For individuals, being featured in a new artefact or exhibit makes them proud which is enhanced by celebrations and events that make this explicit and help them gain the respect of others. Where they were also participating in production, for example in several photographic projects, this also helped them to focus on looking, enhancing their understanding of both local places and people. The knock-on effect of this can be more care and attention paid to the local area, it enhances one’s expectations of any space...there may be something around the corner that surprises – artists. We saw this effect on FreshLinc drivers, who were One of Joseph Hillier’s sculptures installed in Spalding reported to take more care of their lorries as a result of the paintings on the sides. At other times it is because the work itself belongs to a participant: It has to be integral. It is their work. It is not your project; it is their project. Sometimes this takes time, they might not want to take ownership…this takes time - artist

Necessity is the mother of invention Whilst working this way is demanding, artists are comfortable with the rigour and appreciate that it encourages quality. I have learnt that if you have a quality process you are almost guaranteed a quality product at the end – artist. In fact, on the whole, making a quality process part of the contract has been an opportunity rather than a limitation or trade-off. The combination of excellent art and everyday spaces makes the everyday exceptional. It heightens the feeling of risk and the responsibility that the artist has, where we were rehearsing hadn’t even been built! which helps enable innovation. In two of the four in-depth analyses artists developed new silk painting techniques and new scanning and 3-D printing approaches to meet the constraints of time and Long Sutton installations space. Similarly varied stakeholder priorities can provoke even richer work: And beyond that the ability of the arts to ‘place-shape’ is increasingly emphasised by cultural value experts. Research for CABE Our rehearsal space was the canteen, so we constantly had audiences coming in and watching / commenting. This constantly and the AHRC by Ipsos Mori into public attitudes to beauty found the public wanted it taken seriously in relation to the places makes you reflect. The quality of the piece was constantly reviewed by the people, the management, Transported – artist. where they lived. They felt it was a legitimate role for local governmentvii. The report concluded that shaping beautiful local space is important for civic pride and creates a cycle of respect, evidenced by the fact that people pay more to live in beautiful areas. In a virtuous circle, when the resulting work is of high quality, the participants’ own experience is enhanced and the pride they feel The Warwick Commission on the Future of Cultural Value found that the cultural and creative industries have a big role in place- affects not just them but their community too. When this also is about creating a tangible product, new material culture, like the shaping which to date has been engineered through large investments like in Capitals of Culture. They recommend this role should LightShips books, the photos at Elsoms or Spalding’s installations, value is particularly high. now be moving towards local communities co-commissioning cultural experiences.

A varied programme Finally, the Creative Intent was to present a varied programme, starting with a ‘smorgasbord’ consultation in phase I then focusing from 11 to 7 strands of delivery, across the performing and visual arts and across large and small scale.

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Audience response Asked about what could be improved, the overwhelming answer was nothing – to the extent that it drowns out the rest. Also mentioned were publicity and advertising. Hardly anyone mentioned a need to improve either the engagement or the art itself. The final feedback on creative quality comes from audience response. We used two approaches to consider the audience response to the quality of the art and the process of engagement: Open question responses to ‘what could be improved about Transported?’

■■ Consideration of the type of words they used in describing Transported and Transported events;

■■ The way in which their view of art and what art was had changed through their engagement with Transported.

In the event survey, people were asked the best things about the event, and what could be improved. The ‘best’ things shown in the word cloud below (which sizes by frequency of answer) emphasise newness, something different, and the fact that it linked to people and children, as well as the fact that it was good, fun, enjoyable, creative.

Open question responses to the ‘best thing about Transported?’

Going beyond audience enjoyment, into a more qualitative response within the final audience survey people were asked which three words best described Transported, the results in the word cloud show it was seen as both fun, and challenging (‘Fun’, ‘Interesting’, Different’) as well as Creative and Inspiring.

Responses to ‘what three words best describe Transported?’

On Your Doorstep, Joseph Hillier. © Electric Egg Ltd.

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Percentage of people agreeing that Transported is…

90 80 70 60 50 40 30 20 10 0 Fun New Exciting Creative Uplifting Involving Inspiring Pointless round here Engrossing Captivating Excellent art Excellent Weird/Strange Family Focused Family Learn new skills Good for Children A waste of money A waste Not appropriate for Not appropriate for Community Focused

We were also interested in how Transported’s programme had changed the way people viewed art in the area.

People were asked to explain ‘what is art to you?’ – though there’s clearly no single answer to this question, we’ve found it useful in drawing out central elements. From our work on the impact of Liverpool’s Capital of Culture programme, we found that people involved in art changed the words they used from those related to artforms and venues to a sense of ownership and access. The responses from the Transported questionnaire are in this latter group – art is seen as creativity, expression, a way of life (rather than mentions of galleries or theatres for example). The actual range of answers given are quite reflective and show both interest and engagement in a difficult question.

When asked directly which words applied, we can see that people did value the excellence of the art, focusing strongly on the process as much as the art itself. Creative scored highest (80%). Involving, inspiring, uplifting, excellent art, captivating and new scored between 45% and 55% as well as the family and community focus.

Only 40% agreed it was ‘excellent art’ but in most cases this wasn’t coupled with a critique of the quality of the art, so we can assume that some of the people who didn’t tick this box either didn’t feel comfortable with judging whether it was excellent art, or didn’t feel comfortable with the term at all.

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Responses to ‘what is art to you?’ Yes it is because although I understood what performing arts was subconsciously I thought you got to go to London to do or see or do anything. Whereas now there is stuff on my doorstep I can see and do. I love street performance and love raw talent making people stop and look and take a moment from their busy lives and have a moment of unexpected pleasure.

Yes you don’t have to be arty as you can participate at any level.

Seven people mentioned something related to a sense that they felt art was more accessible to them now, I would never have been brave enough to show my work to other people before coming to the group - audience.

Others mentioned a changed sense of the value art could bring and linking it to the local area, art would never have been influenced by the local area, or the mundane, before Transported - audience.

The majority of those who replied (44 out of 68) to the question ‘has Transported changed your view of art?’ said it hadn’t changed their view, though most added they liked it, thought it had affected others and that there was more on offer, for example:

No, would have been the same. I didn’t realise how much talent was in the local area before the event though. Also it showed how many opportunities to have a go at art is about in the local area - audience.

Of those who did feel it had changed their view, by far the majority change was in terms of their understanding of what art is (about half of those who replied) in particular the breadth of what constituted art. Their replies speak of a meaningful change experienced: On Your Doorstep. James Sutton.© Electric Egg Ltd. Transported has helped me realise that I do enjoy different forms of art in different ways.

Yes - the spectrum has dramatically widened

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3. Which approaches were successful and what were the lessons learnt? It is tempting to think that new arts venues / organisations restrict what people do...as people expect them to operate in a different way. T is challenging that, there were some very exciting ideas...it becomes more political...exciting politically, and hard work, it made us think – commissioned artist. A note on content The consistent approach to excellence starts with recruitment and runs through contracting, support, delivery and to some This section explores which approaches work throughout; whether the Quality Intent leads to outcomes. extent evaluation. Artists are selected against Innovation and Originality, Feasibility/Risk, Relevance to the Location, Link to We begin with the section on Delivery Intent. To understand delivery quality, we interviewed six artists and the directors, surveyed Consultation. There is a panel deciding recruitment, including representatives from local communities. For example, in the artists broadly across the area, analysed audience feedback, analysed Transported’s documentation, and compared results with Spalding trail the Civic Trust partners interviewed Joseph Hillier. When relevant artists are asked to do a taster session within the national quality research. This helped us to learn which approaches were successful and to create and test a Story of Change, interview, which also supports development of local leaders who may commission directly in the future.

We then used the FEC/L typology to analyse relationships between types of event or project and participation types, levels and Writing careful briefs is considered important, both making it clear that the work is about ‘being braveix’ and focusing on local resultsviii. We refer to coding from Audience Spectrum (defining arts consumption patterns) and Mosaic (broader social groups). See need; for example in the second phase of one project there was the need to ensure the learning from the first phase was Question 1 for further explanation of these. For this section we have focused on those groups most prevalent in the local area, and implemented. This then meant when the work was initially not right – neither technically or for local feel, the way was paved to indeed in the Transported audience. (For this reason, the percentage attendance doesn’t always add up to 100% as there were some take that up with the artist. other groups in attendance). Where we refer to outcomes, we are in the main using the leading indicator from the event survey which The AEWs have been key to maintaining focus on quality and a lot of the CPD effort has been directed at them including mentoring, is a composite measure of people intending to continue with the arts and wanting more or being willing to recommend. sharing good practice materials, stretching them beyond their role and working with a solution focus, as well as a focus on the The section completes with a piece on the experience of audiences, and this is explored further in the section on social impact. national debate. They had their own ‘go sees’. This has benefitted them in terms of their practice as artists or teachers, as one AEW said, it has allowed me to work in an area I really enjoy and link my own skills to my work. However, with few of them from the local area and only two roles available to recruit in T2 there is a risk that expertise has leaked out of the area. Delivery Intent Following through to ensure Transported makes a difference has required some persistence; several projects have initially had low take up and staff and artist skills have been needed to get over that. In some instances, this might lead to over-commitment, Vision and leadership and making hard decisions when things aren’t working will be important in T2.

The Creative Intent is enabled by strong leadership. The directors of Transported are extremely experienced producers of high Having learnt from early challenges, on the whole Transported creates a very supportive environment for the artists they quality socially engaged arts having delivered for over 25 years in the next-door district. They have the passion and experience to commission, including supporting their role as communicators as well as their artistic process. This is judged their strongest deliver outstanding work and their leadership role combines commitment to a local vision, with the experience to develop the work performance by artists more broadly in the area. artistically. Both directors are seen as passionate, open-minded and leading from the front – artist, and this culture is reflected by the AEWs in a way that sets the tone for everything that follows, right through to walking the streets to drum up support. Arts development and quality control The directors see their biggest challenge as the scale of need in the area, with low expectations based on poor previous experience, coupled with a lack of infrastructure that means everything takes longer - director. It will take a long time for things The attention to process paves the way for an organisational culture of excellence, followed through in direct funding for local to change and their ambition for this phase of work was to get underway, then it is about taking people with us on the quality R&D and overt quality control, both of which artists were unused to. journey - director. This is about local partners, and whilst there has been some national profile – FreshLinc trucks going to Transported is very focused on consultation and action research to meet local need and ensure the work is relevant. The entire Westminster for their launch for example – wider influence can come later. first phase of work was about consultation, taken to places where people naturally met. Local people are included on interview panels and appointed initially as ‘community researchers’ re-named Events Team Assistants (ETAs). Artists have their R&D time Managing the programme funded in situ, for example the artist for Journey to the Centre of your heart describes working for a week in the libraries prior to running projects there. Partners have been taken to ‘go and sees’ to deliberately expose them to high quality professional arts. This is a very demanding programme with many stakeholders and the management challenge shouldn’t be underestimated. They are invited to each other’s projects, both to share and for a little healthy competition. There are at least four ‘customers’: ACE, local partners in business, services and the community, artists and not least the public. Maintaining excellence throughout this complexity is no mean feat, and Transported has done well at communicating the CPP There is a formal approach to quality control. Installation artists are asked to produce maquettes, and Simon Hollingsworth is purpose to AEWs and artists; It is not just about engaging participants from community into art… it was getting them access to appointed to observe performing arts as Quality Arts Assessor. Simon has been briefed about what quality should be seen. He high quality art – artist. Artists can see the vision threading through into operations: watched our rehearsals, engaged with the process, worked alongside us, talked with the participants - artist. All this sets the bar high which has some associated risks. Artists find this demanding, and would have been daunted without the relationship they already had. Partners are used to a lot of support. Having a big budget is a big responsibility and early on artists felt that keenly. This unusual supply chain, which one artist described as triangular, does much to assure quality, especially through the use of AEWs who can ensure the artist doesn’t feel ‘over-produced’ whilst also making it clear that there is a wider

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context. But at the same time it also creates quite an overhead, with Transported staff monitoring on-site, and sometimes a Communicating the value of the arts further level of ‘client’ as at Elsoms, where it was essential to the chairman that the quality was good. It also introduces a risk, We describe above how effectively excellence is communicated through the supply chain. Transported also needs to promote the though a small one, of disempowering artists, with Transported coming between artists and the audience or commissioners. programme to the public and show the value of a quality arts programme to other stakeholders. There is a need to strike a balance with commissioners, both Transported and other partners, between trust and quality control. When there are in effect two commissioners together this is especially challenging. There is some criticism that the messaging is not right for the community and that there is insufficient publicity generally. I was surprised by the number of comments made about the advertising of the event under the question about what could be done better and from their comments they thought more use of local contacts and organisations and social media for young people – Evaluation and sustainability ETA. At times ETAs felt people around the area didn’t know that Transported was for them, and that the language was too complex. Phase I identified that value must be explicit to partners, as South Lincolnshire is unlikely to generate arts income from tourism and is currently under-funded by ACE (as described in the Arts Council’s own report with Defra). Non-arts commissioning is vital Social media works well in some places, for example at the Fenside project to create a village photo album, Facebook has for sustainability, and evaluating the impact on social and economic outcomes alongside ACE’s research questions was seen as continued to be used by participants to talk about their stories, uploading photos of babies born since the project which can crucial to speaking the language of a broad group of stakeholders. be added to the photo album produced. But a more effective communications plan could emphasise locally appropriate social media; consulted artists used this medium less for Transported than their other work8 which exemplifies the challenge described The team is very committed to evaluation, and has taken on board several challenging techniques we have introduced, such elsewhere of a triangular structure. as using timesheets so that staff time can be an accounting driver for allocating overheads. Audiences are comprehensively evaluated, with an extensive survey programme, artists are committed to contributing to evaluation in their contracts and the In terms of the press coverage received, of 266 recorded pieces the most was about On Your Doorstep and the initial consultation, team have post project de-briefs about logistics and the arts. which are both of particular community interest, and came from local press. There was also quite a bit of coverage of Haulage, including regional and national coverage by BBC Look North, the Telegraph and the Arts Council of the London launch, and even a Working to a ten year plan we would not expect Transported to be sustainable yet, but it is important now to have a clear idea piece in the haulage trade press. There was National coverage from the Telegraph, Guardian and Sky News. of how this will happen. This evaluation will contribute, but one challenge here is that the initial evaluation is of a highly funded action research programme, and we need to disaggregate an approach that could be sustainable. So in looking at the returns on Highlighting the value of the work has so far been implicit rather than explicit, for example, Upskilling participants so that they are investment in the four in-depth studies, we have also included a model in which overheads would be 20% of budget rather than the inspired to strive to be creative. ‘I can do that! I want to attend another workshop’ – artist. This was a shared assumption from early current figure of around half. research, that people can only reflect on the arts according to their experience. The socially engaged artists employed by Transported see it as their job to communicate what they do. Public art projects that transform public space achieve this particularly well; it Aside from significant ACE or local authority arts funding, sustainability could be achieved in different ways; through participants enhances one’s expectations of any space – artist and as soon as you put something that disrupts - it creates all sorts of fizzinness in continuing their arts consumption independently, artists finding their own income stream to deliver, or partners continuing to people’s head. You are creating a mind-set that your town is for something else...other than just consumerism – artist. This is true for commission. The first of these is underway on an ad hoc basis with some participants setting up their own arts groups. Artists are asked partners as well, for example at Elsoms there was a managed development from audience to participation. One artist described it as ‘a to consider sustainability as they deliver, and to date the approach with partners has been to inspire rather than teach. Each of these need bit terrifying’ for the chairman, but the step by step progress encouraged him to engage. testing in T2 and particularly regarding artists, a more collaborative model would make it easier to share this responsibility. Creating a strong brand could be a way of assuring people of the quality that they are about to experience. Transported’s work is beautifully recorded and in one artist’s opinion, its brand is stronger than other CPPs. However, there are challenges in creating a strong brand; it takes resource, risks emphasising product over process and could at worst undermine artists’ own USP or that art itself.

There is the opportunity for a more targeted approach with more strategic market intelligence in T2. This was identified in Phase I, including ‘A more detailed dialogue with the artist involved in presenting the activities [to] ensure that the rationale behind the project and its marketing strategies is better understood’.

Transported’s structure Both the structure and the local infrastructure for the arts need to support the ongoing delivery of excellence.

Transported is managed by artsNK, part of a partnership Arts Council funded NPO with the overview of a management group including people from the local public and community sectors, artists and arts educators. (see appendices). Unlike many of the CPPs Transported is not a consortium or partnership. Described by one artist as a monopoly, this means that risk and responsibility are not shared and in common with other large providers in the non-profit sector, there is a risk that Transported is thought to ‘mop up’ all the funding. It is easy for resentment to develop. For example, whilst Transported has been running, the Lincolnshire Arts Forum of 200 artists which was part of the original consortium bid has folded. Whether or not this was related to Transported, the perception presents a risk.

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There is scope for more shared accountability in delivering Transported, which would also extend the reach for advocacy. Whilst Using the FEC/L typology phase I was all about community consultation and consultation is strong in much of the individual project management, and As evaluators we applied a coding to the diverse Transported programme so that we could see which approaches worked best. there is some argument that the community needed to experience Transported first – it remains that the community is not so This differentiated between audience and participant and more personal or social experiences like so: well reflected in the programme management. For some time, the team also lacked for personal reasons the support of a Critical Friend. The team has plans for a new structure in T2 which will include key partners in management but there is an ongoing need ■■ Fun – a light touch experience for audiences which tends to be social and energetic. An example is the festival events. Fun to keep this structure strategically relevant. events were often located within larger events and this worked better than those that people came across when they were short of time, shopping for example. The staff team will also be changing and potentially more radically, with less funding for AEW and ETA roles. The team will need to maintain some elements of these roles, embedded in different jobs or with partners, and will need to manage expectations carefully. ■■ Captivating – a light touch experience for audiences which tends to be aesthetic and reflective. An example is the installations in Spalding. Transported artists are using defined arts skills, like dramaturgy for example to captivate audiences.

An infrastructure for the arts ■■ Engrossing – a deep experience for participants which allows them to experience ‘flow’. An example is the participants in the In response to the context in South Lincolnshire, Transported intends to build an ‘infrastructure for the arts’ rather than an Elsoms photography project. Transported was good at creating engrossing projects where people were able to experience ‘arts infrastructure’. This responds well to the shortage of existing local arts provision and opportunities through austerity ‘flow’ and wellbeing. As one artist put it there is something enormously powerful about forgetting your body and going on a driven diversification. They hope to encourage the potential supply by developing the demand from those who have the ability creative imaginative journey. to commission, for example businesses, libraries or health services. One artist suggests there might be other interesting ■■ Locally resonant – an experience which is particularly rooted in the cultures, place and heritage of people who live or work partnerships which could also be explored, with dentists, or young farmers, people who never normally dream of working with here. It is site specific. An example is the installations in Spalding where the artist says I think / hope through the commission artists – artist. that people of Spalding will be able to step back and observe and think about themselves and their town and the place they This is a conscious decision, which includes prioritising developing partners’ understanding of how to commission quality art over come from. Initially even the difference between the neighbouring North Kesteven where the directors come from made this working to develop local artists. It has met with distrust by some, who believe that only local artists can understand the community a challenge but it is now one of the strongest features of Transported. This often depended on developing real relationships and that Transported is not doing enough to support them. As one said, If you don’t like the way we’re doing this, then train us – local with local people. artist. Transported does work with many local artists but also responded by offering support such as CPD including shadowing for Transported programmers assigned all events to a category based on the hoped for impact on attenders: Fun and Captivating artists and training for researchers, but this has had limited take up. They also provided some quite intensive support for individuals, events were mainly audience events, and ‘Engrossing’ events were more participative. All events were also coded for ‘Local but on the whole found it more productive to focus CPD on AEWs. And in fact, it is clear that artists from further afield are well able to resonance’ (See appendices for definitions). understand the community, though they do need longer (and more resources) to create relationships. Transported has so far presented a varied programme that is an important part of attracting different socio-economic groups, At the same time, there is also undoubtedly benefit in working with local artists, It was useful for me to be project manager and as a allowing people to engage at different levels and creating cross fertilisation. resident of the area, I thought, ‘I can’t connect with these’ – local artist. Not least because attracting other artists will always fall foul of poor transport links to the area, and there is a need for low-key support for some of the participant groups that are emerging. It is also the case that training AEWs several of whom have had to leave, leaks investment and intelligence from the area. In summary, a small number of poor relationships locally at least risk resentment and at worst could mean there will not be affordable quality supply Open Book. Faceless Arts. © Faceless Arts to match increased demand. So despite challenges so far, we recommend that Transported keeps the channels open for working more broadly with local artists, which a director tells us they intend to pick up through a forum called Nexus.

Working with organisations rather than individuals makes building an infrastructure feasible. Identifying supportive business environments at FreshLinc and Elsoms for example has been a vital leadership task and delivery mechanism. Working with organisations also allows Transported to create more value, productivity in businesses for example, or diversification in libraries. We can see how a lack of organisations to engage with is challenging in projects like Spalding, where it was hard to reach a broad group of people. Conversely where some partnerships have been across public and private sectors, for example schools have worked with FreshLinc and Elsoms, opportunities may be easier to realise. Transported is planning a more strategic approach with key partners, but creating this infrastructure is an area that artists surveyed know least about. Strategic clarity and communication about co-production will be an important part of T2.

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Audience Spectrum groups prevalent in the area and the audience - attendance at different types (FEC) of event Variety was important and it was good to see that other types of project did not put off new audiences significantly; both Up Our Street and Heydays, alongside Facebook Families these are other low attending groups, were more likely than the average to attend Captivating events. Fun - audiences Perhaps most importantly, all low attending/ new audience groups were well represented in participatory Engrossing projects, Captivating - audiences 35 designed to make them further engage and shown below to predict better outcomes. It is worth noting that although the numbers Engrossing - participants of those self-stating they were ‘new to the arts’ drops significantly in Engrossing events to 52%, it is likely that their answer might All 30 be a result of earlier Transported attendance – where they HAVE engaged in the arts in the last 12 months, in many cases it was ‘at M Traditionally medium arts attenders a Transported event’ so that Engrossing projects are offering an effective participation path. L Traditionally low arts attenders 25 We know from other coding on Local resonance that projects that were Locally Resonant didn’t attract families, although they had other strengths. 20 Securing all audiences 15 The medium attending group, Dormitory Dependables who we consider to be more ‘experienced’ at the arts, were most attracted by Captivating projects and less likely to be attracted by the Fun projects. Captivating projects tended to involve public art or 10 performance and could be more traditional performance - such as the locally developed and locally set play Fen Boy which drew in total audiences of nearly 3,500. Others were more unusual such as the commissioning of art on the sides of the Boston Borough 5 Council Waste Trucks where residents nominated their ‘local heroes’ and artist Sarah Brown was commissioned to work with them to make piece of public art to go on the side of the trucks. This was widely reported in the local press and viewed fondly locally.

0 Another medium attending group, Home and Heritage, were most attracted by Engrossing projects. An ‘Engrossing’ project might M: Dormitory M: Home & M: Trips & Treats L: Facebook L: Heydays L: Up Our Street be relatively easy to stumble upon, such as Sketchcrawl, which was developed in conjunction with the Big Draw, in which people Dependables Heritage Families of all ages were invited to learn how to sketch, draw and paint their surroundings using a variety of easy and fun methods. some dropped in for ten minutes, others stayed for the whole session, but the emphasis was on giving it a go - perhaps for the first time. Securing all audiences Securing all audiences Others were more involved such as the Elsoms’ photography project where workers were asked to sign up for a series of sessions with a view to developing technical and artistic skills and putting on an exhibition to colleagues.

Note: Within each group (for example Facebook Families) we show the overall percentage make up of Transported projects (23% for We know from questions about why people attended that medium attenders generally were more likely to come to events with the Facebook Families) alongside the percentage of the group making up attendance at, for example, Fun projects. intention of supporting something local.

Targeting new audiences New audiences, that is those who are traditionally low attenders of the arts were identified in two ways: those who lived in areas less likely to attend (Audience Spectrum groups – Facebook Families, Heydays and Up Our Street), and those who said they’d not engaged in the arts in the last 12 months.

Those who said they hadn’t attended the arts in the last 12 months were far more likely to be attracted by Fun events, with 69% of people at Fun events stating themselves to be new attenders, as opposed to a Transported average of 61%.

Within the Audience Spectrum groups, the picture was more complex as it was affected by the fact that older people in rural areas were attracted to Engrossing (participative) events.

Facebook Families (younger people and families, living in semi-urban areas, were best attracted by Fun projects. These included projects like Family Fun Fridays where different activities were put on regularly over the summer to attract passers-by and encourage people to give art a try. It also included events where Transported added an arts element onto an existing festival (such as Spalding Pumpkin Festival) bringing a light touch arts experience to festival attenders and setting the stage for deeper involvement in future years. However, this was less marked in the other two groups (who are older and likely to be less family oriented).

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Targeting demographic groups Creating outcomes A similar message comes through the analysis of Mosaic categories which we use to indicate socio-economic groups. Through typologies Mosaic groups attendance at different types of project Results by project type

Fun - audiences Leading Indicators composite - % of positive responses Captivating - audiences 70 Engrossing projects 81% Engrossing - participants Transported all Captivating projects 69% 60 Fun projects 68%

50 Overall 72%

40 We established the leading indicator for each type of project. By combining these leading indicators with questions about why people attended, we can see that Engrossing projects have the strongest results (81%), and tend to attract those who want something new. However, budget analysis per head showed that they do cost more. Conversely, Fun projects are more likely to attract casual 30 audiences (as well as the socio-economic and arts target groups above). They have the same results as Captivating projects as you can see above. Captivating projects are second best at attracting more engaged audiences who want something new. 20 In conclusion Transported is putting on events that work for all, not just experienced arts audiences or the wealthiest; overall it was good to see that the high level of new audiences does not reduce the outcome indicators, which remains around 72% for all. 10 We also tested how well the Transported team’s type coding corresponded with what audiences were saying. We found a good correspondence; Transported is effective at predicting the type of response projects will get with the exception of Fun, which 0 audiences perceive as a much broader feature. C12 Scattered D14 Satellite D15 Local D16 Outlying E19 Bungalow J43 Renting All Homesteads Settlers Focus Seniors Haven a Room Finally, opinions vary about how much local audiences will accept challenging work. One view as that,

Older people, categorised as Satellite Settlers, ‘mature’ Younger rural families Lower socio-economic groups such Some projects were a bit contemporary for a rural area…you have to make it accessible. For people who have never been involved Scattered Homesteads are strongly households, are strongly attracted characterised as Local Focus those Renting a Room are attracted before and there is a contemporary dance going on….it was a bit awkward.. there were few dances in the public realm which made attracted by Engrossing projects by Captivating projects and less are attracted to Fun but not by by Fun projects. people a bit uneasy – local artist and not attracted by Fun projects. attracted by Fun projects. Engrossing projects. And another perspective was that,

people are far more intelligent than they are given credit for…to go for the best and the most challenging would really raise the profile – artist.

Having tested the typology approach, it might be possible to test this further in T2.

With Local resonance What we found about Local Resonance was less expected. Although they attracted more young and older people, as well as a group called Rural Reality, they did not particularly attract people who wanted to support local projects, and they did not get better outcomes. They were also less likely to attract those Renting a Room, likely to be more transient population, possibly including the 8-10% migrant population. This could be addressed in T2 in both delivery and evaluation, so that place-shaping and the liveability of the area is enhanced, over time contributing to cohesion.

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Perhaps it is more important to understand the area and focus on need than to resonate with it, as one local artist describes, Percentage of people with a positive leading indicator of outcomes in each project, against cost per head of the project Transported is developed around place, it is place specific. There is an understanding of their area and what the needs of the area are. Projects at Elsoms, Swineshead and Fenside that used photography work this way; they use the lens to help people ‘see with 100 new eyes’. 90 Through spending and commissioning 80 More expensive projects (per head) are more likely to attract more engaged people who want something new. These people tend to 70 have better outcomes, and expensive projects generally tend to have better outcomes. 60 Use of ‘cost per head’ – or more accurately ‘cost per view’ (CPV) as any sort of valuation of an arts experience is of limited use and can confuse more than it reveals. However in lieu of other measures, the CPV can be seen as some sort of indication of the 50 efficiency and effectiveness in reaching audiences, particularly if coupled with analysis on the type of audience reached, and the outcomes experienced. After debate, we decided to use these figures in analysis of the different outcomes of types of project. But 40 the issues above, and the calculation decisions below, need to be understood with all caveats applied. 30 In terms of the number of ‘views’ this is directly measured audience and participant numbers at events associated with the 20 project. These do not at present include ongoing or passing viewing figures for public art or street art. Nor do these include the likely huge viewing figures for mobile public art projects like FreshLinc Lorries and Boston Waste Trucks. By way of example, 10 assuming conservatively that the Waste Trucks (which travel around every area of Boston town once a week) are looked at least 0 once, by a quarter of the population, then the cost per view would be £3. Giving the fact there is weekly coverage, and media 0 100 200 300 400 500 coverage, it seems likely this would be higher.

Excluding the most extremely undercounted public art pieces, there were 25 projects, with CPV ranging from £3.40 to £616. Below we compare low, mid and high cost projects with two indicators; wanting something new, and our composite leading outcome indicator. Expensive projects are less likely to attract casual audiences and casual audiences generally have less good outcomes. It is worth Percentage of people ‘wanting something new’ in each project, against cost per head of the project noting as well that there is no difference between the outcomes achieved working with national and local artists. Commissioned projects are more likely to attract someone who wants to support something local, but don’t necessarily result in better leading indicators. On the other hand, they don’t necessarily cost more and it is worth considering what we describe in Question 1 above, that the process of commissioning creates an impetus for the artists to improve through the focus on quality 80 and by responding to constraints, aiming art at an area which has been identified as ‘artless’....that sense of making art to order, was good in some ways. It made us think in a different way, reinvent things – artist. 70 60 Breaking down barriers with a chain of events 50 We’ve described the quality of Transported’s art and engagement practice above. We also described much of the delivery process. 40 Here we explore the chain of events for audiences and participants to introduce the tangible, personal and social results below. 30 20 10 0 0 100 200 300 400 500 600 700 800

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The quality of the artist is paramount with dual emphasis. This is about understanding local need, from the demands of a 30-minute workshop at a mobile library, to learning people’s history in Spalding, which is key to making things relevant and making them work. It can also be about honouring people by giving them a nationally recognised artist with whom to work.

There are many steps taken by Transported to break down barriers to access, not least through Fun projects as we describe above. Transported Evaluation Report - 16 May 2016 DRAFT Transported Evaluation Report - June 2016 Moving audiences further in terms of engagement and empowerment can be helped by participants being involved in previous projects as audience, as they were at Elsoms, or having seen some of Transported’s other work, newly planted garden area Transported’s Summary Chain of Events provided a positive visual and tangible example of ‘Transported’ art work to refer to and helped to engage passing audience with ‘Transported’ banner workshop taking place at the location – ETA. Allowing participants to be inspired by the artists own work and to watch others participating is also helpful before they join in. How? What? Why? Where participants are learning skills, allowing them to feel proud of their work by making sure they can produce quality and Quality intent displaying it to others sits at the heart of ongoing impact. Those that can be continued at home or a club, that can turn into 3 Delivery intent Creative intent Delivery outcomes Personal and social outcomes Economic outcomes ‘everyday skills’ or a hobby, are most likely to be long-lasting. Photography in particular worked well, because it also allows people to ‘see with new eyes’ their everyday lives and to have new conversations with their community. This worked at Fenside, in Elsoms

Celebrate and elsewhere. Approaches that inspire people, place Demand and heritage Sometimes projects are too esoteric or complex for some people, or they just don’t see their point or are too busy. This is Increase demand, Social outcomes; inevitable, and whilst people can walk away it need not matter. In some cases, we think in A Small Library for example, overcoming 1 from places of least sense of place and engagement community that barrier may even make for deeper impact. But where there is a captive audience, like in a business or on the mobile library, it can cause resentment, and even risk division or cliques forming. A feeling of ‘haves and have nots’ also needs managing where not Partnerships, all contributors can be included in the final work, like at Spalding. R&D and value Work that is: Knock on effect Create material Fun Everyday on families, Saving & The only slight negative was that the pieces took about 20 minutes for the child to make, often longer, and this annoyed some of Excellent art culture and improve Engrossing wellbeing businesses and income the parents who had errands to run ETAs. and engagement public spaces Captivating leaders Locally resonant Programme Creating outcomes beyond increasing demand for the arts is a key objective. The quality of the resulting work is often an essential management prerequisite to creating benefits and generating tangible, material culture; at the very least ‘brightening the place up’ is key for

Increase supply, Participants’ and both shared pride and longevity. Where these are in everyday or unusual places like the ‘hidden corners’ of Spalding, it makes of excellent art and artists’ skills and the work all the more Locally resonant. Working in these everyday settings has its own practical challenges. The weather is engagement understanding Develop sometimes off-putting, and getting planning permission for installations has been a necessary hurdle. infrastructure Art in everyday places for arts Finally, embedding the experience into the local economy, especially where it gives the opportunity for local leadership to pursue Supply the arts more, is a crucial link with sustainability. It is part of a cycle, that starts with a willingness for others to invest.

The schematics below show how the over-arching themes of Transported were emphasised in different projects, drawing out 2 Creative Intent Delivery outcomes particular strengths.

Open Book. The Eloquent Fold. © Electric Egg Ltd.

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Chain of events, Elsoms Chain of events, Spalding

How? What? Why? How? What? Why?

Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes

Inspiration Increase See previous Demand demand for arts Inspiration Demand Increase demand Community Community performance Celebration Celebration for arts

Consultation & R & D Empathy in Leaders know Nationally Sense of people, Sense of Hosts embed in competition New conversations See with new eyes workplace value recognised place & heritage community community Partnerships Partnerships Excellence ‘Brighten the Everyday Material culture Knock on effect Economy Excellence Hidden corners Material culture Individual price Wellbeing Knock on effects Economy See artists place up’ wellbeing own work Management Management Skills for Business gives Celebrate people, Everyday Leaders know Watch then join Work on a hobby Individual pride Artist’s everyday life back Local resonant place & place wellbeing value in w/s approach

Everyday Infrastructure Infrastructure Valued outcomes Skills and Art in the Supply understanding Everyday Supply Arts practice Participants Take up other arts Valued outcomes everyday Participants New community audience

Workforce audience Artists Managing expectations

Local economy Reaching range Local economy Busy lives Didn’t see the value Risk of division Planning permission Challenging new art Busy communities of people Challenges Challenges

Particular to Elsoms was the gradual build up in which participants could see a previous performance, the artist at work and even others participating before they joined in. ‘Brightening up’ the everyday space was crucial to sharing the outcomes and to participants A significant feature in Spalding was the quality of the artist, who is both nationally recognised and an extremely empathic communicator. The project was multi-layered with a significant part of it Research & Development (R&D) and it delved into hidden corners of feeling proud of what they’d achieved. Using photography helped people to ‘see with new eyes’ and they rubbed shoulders with different colleagues, having new conversations. Several of them were developing a hobby which is good for sustainability, and may make Spalding to celebrate the people, place and heritage of the town. The people who had sculptures made were immensely proud, though there is a slight risk that others felt left out. The businesses that hosted the sculptures are likely to feel more embedded in their them more open to other arts. The overall positive experience helped the business to ‘give something back’. community.

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Chain of events, Faceless Arts Chain of events, A Small Library

How? What? Why? How? What? Why?

Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes

Some mobile library users did not want to take part in silk painting Sense of belonging when invited to Person and communal pride Inspiration Inspiration centred

Meet local Demand Meet local Demand Community Community Community needs Celebration needs Celebration

Person Person-centred Leaders know Libraries centred Everyday pedagogy Spending time with Reduced value diversify wellbeing new people isolation Partnerships Partnerships Everyday Excellence Excellence wellbeing Deeper partnership Creation of Sense of belonging Leaders know Libraries New material Celebrate people Material culture Economy with library staff ‘on Material culture Knock on effect Economy Make things material and communal value diversify Make things culture the ground’ relevant relevant Management Management Artistic skills and awareness Public Artistic skills for Public New craft investment Engrossing??? everday lives investment Engrossing??? group

Everyday Infrastructure Everyday Infrastructure Development of Skills and artistic practice Art in unusual Supply understanding Valued outcomes Art in everyday Supply Valued outcomes spaces spaces Participants Participants Skills and Local economy understanding Local economy

Limited time to participate Challenges Artists Weather sometimes Activity seen as complicated by sometimes meant participation detracted from activity some to start with felt rushed ETAs Challenges

ETAs

In both the library projects the person-centred approach was key in supporting participants to make new artwork, ‘material culture’ for the community of which they could be proud. In the Faceless Arts, which was on mobile libraries, the project the ongoing impact is more nebulous, because of the transient nature of the venue. The artists needed to develop new techniques because of the tight time and space, and participants sometimes found that challenging. Meeting local needs with art in everyday space was particularly important for these participants. Though they found the work challenging, they became engrossed in it so that wellbeing was a result for everyone on the project. Spending time with new people was very important in reducing the isolation that several of them felt. A small group went on to establish their own craft group with the support and space of the library, so there is likely to be a long term impact.

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3c. Results: Social impact

A note on content This section explores knock-on social impact on participants and the community, as well as sustainability in relation to the local Transported Evaluation Report - June 2016 social, health, creative, cultural and work economies. Audiences and artists’ Chain of Events The evidence comes from the four in-depth analyses:

■■ A Silk painting project as part of Open Book in mobile libraries with Faceless Arts - Transported commissioned Faceless Arts to deliver a high quality, innovative and engaging arts project to tour the mobile libraries and showcase them as key venues for How? What? Why? the community and locations for arts activities. Participants were encouraged to take part in silk painting while visiting. The workshop enabled participants to use silk painting techniques to create bookmarks or banners to represent one of the 14 places 3 Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes the mobile library stopped on its route. Each person could return the following session to pick up their book mark and to continue to develop their skills by adding to the banner. Banner were displayed in community centres.

Inspire ■■ A paper sculpture project as part of Open Book in static libraries, with the Eloquent Fold (artists Carole Miles and Phiona Celebrate Richards) - The Eloquent Fold was commissioned to host book and print making workshops at Boston, Long Sutton and Spalding libraries for one morning or afternoon over the course of four weeks per library. Participants were encouraged to book their 1 Demand Community place in advance. The content of the workshop was designed to enable participants to use printmaking, drawing, photography, calligraphy, stitching, personal memorabilia, collage, and paper engineering to make their Big Ideas books. Each person designed Partnerships and created one book to keep as well as one book to fill and leave with the Small Library of Big Ideas.

■■ Wellbeing Economy An art trail installation by Joseph Hillier with Spalding Civic Society and local schools of 3-D sculptures of local people in context Excellence Creative intent Material culture Knock on effect - The project is part of Transported’s On Your Doorstep programme. Joseph Hillier, an artist, was commissioned to produce sculptures for the town centre that would celebrate the town’s market history. Joseph undertook research and development Management with many groups within the community, he delivered ‘scanning workshops’ and a launch event was held. The final 14 sculptures were fixed in their locations throughout the town centre in Spring 2016. 2 Supply Skills ■■ A photography project and exhibition with Elsoms seed company workforce - part of an ongoing partnership between Transported

and Elsoms. Two artists were commissioned to train staff in photography skills at Elsoms, a long established family owned seed Infrastructure company in Spalding Lincolnshire. It began with consultation, delivered 17 workshops from pinhole cameras to digital, and Everyday Audience focused on a final exhibition of work. The artwork was then placed around the workplace in 2016. Artists These used a variety of evidence techniques, from self-assessment on Transported postcards, through surveys and interviews to detailed observation by the ETAs. For the broader programme we anticipate that our composite ‘leading indicator’ predicts wider change.

Personal and social outcomes

Audiences

Both audiences and artists experience of Transported is light touch; broad rather than deep. They are two sides of the same coin, 71 where artists are integral to supply and the audiences to demand, with a shared interest in new material culture. We explore audiences and the supply of the arts in detail above in the ACE research questions and and artists more below. The personal and social outcomes of wellbeing, skills and community development that participants experience may be felt by them lightly or not at all, though we describe above how being an audience first breaks down barriers and encourages a move towards participation.

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Participants Participant results showing self-assessment against three outcomes before and after Transported engagement. A bigger triangle shows a ‘better’ result Participants have a more in-depth experience and developing their skills, wellbeing, and relationships may have knock on effect in their community, family or business. Elsoms Spalding Participants’ Chain of Events + 10% + 22% Confidence with skill Confidence with skill How? What? Why?

3 Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes

Inspire Celebrate

1 Demand Community + 13% Sense of belonging Everyday wellbeing + 22% + 15% Sense of belonging Everyday wellbeing + 19%

Faceless Arts A Small Library Partnerships + 8% + 39%

Wellbeing Economy Confidence with skill Confidence with skill Excellence Creative intent Material culture Knock on effect

Management

2 Supply Skills

Infrastructure Everyday

Participants + 12% Sense of belonging Everyday wellbeing + 10% + 25% Sense of belonging Everyday wellbeing + 27%

Before project After project Spalding later on 72 73 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

These triangles show how people self-judged against the three main participant outcomes before and after their involvement, wanted to know about further workshops, others intended to take photographs in retirement and on honeymoon. A participant with the grey triangles being the axis on which the centre is a score of 5 and the outside a score of 10. at Faceless bought their own kit too, thank you for everything you’ve done, I’ve ordered a (silk painting) starter kit from Amazon – Faceless participant. After the Small Library project the group set up their own club to continue meeting which has happened in It is remarkable that all outcomes in all projects improved. Overall the Small Library project (in static libraries) has the best results several other places too. with a very high (39%) increase in skills, and sense of belonging (25%) and happiness (27%) also high. The Faceless Arts project (silk painting on mobile libraries) though still positive, has the least strong result. Very few participants were unaffected or negatively affected. These four projects are fairly typical, and it seems likely that these kind of results are happening across the board.

(We should note at this point that we do not know that these results are all down to Transported and we account for that in the SROI analyses – although in Spalding the results were before and after one workshop so are highly likely to be attributable. They were confirmed by an event later.)

Skills, confidence and awareness of the arts Participatory projects in particular have developed people’s artistic skills (though audiences may also develop awareness). SROI projects results

Skills or confidence

Before After Change

Elsoms participants 7.8 8.6 0.8 +10%

Spalding 7.7 9.5 1.8 +22%

Open Book – Faceless Arts 7.4 8.0 0.6 +8%

Open Book – A Small Library 5.7 7.9 2.2 +39%

In our SROI projects all participant groups increased their skills. The library projects have the best and least good of all our results Open Book. The Eloquent Fold. © Electric Egg Ltd. here, with the Small Library skills result being the biggest of all the outcomes and the Faceless skills result being the smallest.

A Small Library attracted participants who were quite disadvantaged; one man was unemployed, another homeless, one woman Feedback from the final audience survey showed this effect was wider than just the SROI projects. Over half the audience was living with ME and a family came who were between homes. In each outcome their starting point is low. People also had to surveyed agreed that there had been an increase in demand for art in the area as a result of Transported, and nearly 80% agreed overcome what at first seemed quite a complicated3 activity and the pieces they made were quite beautiful. They were taken into there had been an increase in supply (amount and range) of art. This was not unqualified – some people put their own increase in the library and along with new silk painting manuals, made available to loan. All of them were taken out, as participants learnt demand down to how accessible it was (or wasn’t): more for themselves and shared their sense of pride at home. Both factors may have enhanced their sense of achievement. The Faceless Arts project was very light touch and it was a real challenge to fit it into the brief mobile library stops and the physical It’s very good that you welcome participation but don’t expect any previous knowledge of the subject, eg the techniques involved space available. The weather was also a challenge both of which may have limited results. At Elsoms (photography project in in creating the Frampton March sculpture. Makes things easy socially - everybody comes just to have a nice time and learn a seed company) the change was positive, but improvement was limited by the fact that the group was already quite skilled. something. Similarly, in Spalding the group began quite aware of the arts, but their results were nonetheless very good. We heard repeatedly It sort of grew on me, at first I thought it was a bit odd but then I realised how talented and committed everyone involved was. here about the skills of the artist at engaging participants. Have started to draw which I haven’t done since school. In many Transported projects participants are being taught a skill and especially where these can be taken up as a hobby they have potential for ongoing impact. At Elsoms this came up again and again. One woman bought a flower press after her work, another It certainly provided new opportunities. I sometimes felt that they were mainly aimed at people who enjoyed more ‘alternative’ arts. Why not provide something more mainstream, like musical theatre as well. 3 “Personally, at the initial start of the session I did feel it was a little daunting for some of the participants, as they were asked to do a layout plan of the concept of their ideas as to what they were going to put in their handmade book i.e. who, what, when, where. This may seem easy, but for some you could see that it was a bit like being back in the school classroom!!! Especially for those who struggle with imagination and literacy skills. However, this said, they were helped by the artists for inspiration” - ETA.

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Effects on arts demand and supply Because the Office of National Statistics (ONS) now measures wellbeing, we can compare these with regional averages. In two instances participants had a starting point below the local average. In Elsoms this is likely to be influenced by the fact they were at work, in A Small Library by their demographic. Both Spalding and the Mobile library users are people who are generally Strongly agree happier with their lives. In all cases, the result took participants to higher than the population average. As before the Small Agree Library participants had a strong increase in wellbeing likely to be linked to their pride in their work, but also to a reduction in the 100 Neither agree nor disagree isolation that many of them felt. 90 Disagree One lady has ME and got quite emotional at one point but the others rallied round her. This was her first outing to a group, on her 80 Strongly disagree own, for 15 years! Quite an achievement! - ETA.

70 The results were also good for Elsoms, where the lower starting point may in part account for the change.

60 Interest in wellbeing is a big opportunity for the arts to demonstrate value and well worth Transported’s focus. Being engrossed in a participatory activity, or captivated as an audience is a personal experience which prompts reflection. This can enable people to ‘get 50 in the zone’ or experience ‘flow’, which tends to create a stronger impact than merely enjoyable experiencesxi. On top of which there is increasing evidence that wellbeing leads to better other life chances. So Transported can not only help people feel better, but could 40 also impact on their self-esteem and interest in new skills, including a positive cycle of creativity and confidencexii. 30

20

10

0 Transported made more people from Transported increased the amount round here want to attend the arts and range of art available in this area

Everyday Wellbeing In our SROI projects all participant groups experienced an improvement in their feelings of wellbeing. We only asked about the short-term feeling of happiness, rather than the longer term sense of Life Satisfaction that wellbeing professionals measure, except in Elsoms where we had more access to the participants. Open Book. The Eloquent Fold. SROI project results © Electric Egg Ltd.

Happiness Life Satisfaction

Before After Change Before After

Lincolnshire 7.5 7.6

Elsoms participants 6.8 8.3 1.5 +22% 6.3 6.9

Elsoms workforce 6.3 6.9

Spalding 7.9 9.4 1.5 +19% We have also learnt about an interesting distinction between the benefits of skills gained alone and in a group - personal wellbeing Open Book – Faceless Arts 8.1 8.9 0.8 +10% and social wellbeing are linked as we explore below, but are two distinct outcomes.

Open Book – A Small Library 6.7 8.5 1.8 +27%

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We can also see some impact on audiences generally and especially where families are involved. 75% agreed Transported gave It made good use of the village hall, brought us away from television and showed that for very little cost art can be brought to opportunities for better family time. People gave a lot of explanations around this, mainly linked to the fact that activities suited a small villages and towns range of ages: The silk paintings decorated the town. The light display in the Stump was captivating and brought people into the church. The library Transported offered a variety of different artistic experiences to enjoy and get involved with. Each time I attended a transported projects and bookworm performances engaged people’s interest in books (some who may not have wanted to read much before!) event I came away enthused and inspired. They also refer to cross-generational opportunities, (as a pensioner) I enjoy the company of creative and enthusiastic young This is something we would have not done as a family before if it hadn’t been held in the village so was good for us to try something new people; they bring new things for us to see and think about - uplifting and much appreciated.

Sense of belonging and relationships with place and community The relationship between the personal and social Nationally, there is strong evidence that wellbeing is highly correlated to good relationships; happy people tend to be more Interesting learning is starting to emerge that whilst generally social relationships are valued highest of personal and social sociable and to like people better. Coupled with a deliberate focus on surroundings, which at Elsoms resulted in seeing through outcomes, research for the Arts Council has found that the greatest happiness and relaxation comes from participating in the new eyes and seeing my workplace in a different light, Transported projects can enhance communal spirit; and potentially trust arts alonexiv, perhaps indicating the importance of mindfulness or flow. As a Transported artist describes, group dynamics can and empathy. often impact on the overall quality of participants’ experience. In response artists have suggested a drop in artist-in-residence model, which may well impact more on personal wellbeing. The relationship of people and place is important for all CPP projects and the vision of a local focus and sense of belonging is very strong in Transported. It was also a priority for the Elsoms Chairman, who wanted to create empathy in his workforce, as one So whilst there is no doubt that spending time with others, reducing isolation and building up empathy is the most significant area artist put it a ‘binding experience’. Both of these are with good justification. In the longer term this can affect productivity in to grow value, there is clearly value in working with artists who have both a group-centred and a person-centred approach. business, and even reduce crime and contribute to resilience in communitiesxiii. SROI project results Families Finally, we know that nearly three-quarters of Transported audiences come with families, and nearly a quarter specifically to be Sense of belonging with family and friends. Families are targeted through projects like Family Fun Fridays, but there is also more of an opportunity to Before After Change bring families to other participatory events. Staff at Elsoms pointed out how celebration events helped created a stronger effect, and families were invited to their dance project. Ensuring families are invited to celebration events, as they will be in the new Elsoms participants 6.7 7.6 0.9 +13% Taking pART wellbeing project, could generate value for very little investment.

Elsoms workforce audience (understand roles of others) 6.1 6.7 0.6 +10% We see this benefit in audiences too:

Spalding 7.8 9.0 1.2 +15% There is 10 years between my eldest and youngest so finding activities we can all do together can be hard so the painting was great

Open Book – Faceless Arts 7.7 8.6 0.9 +12% They are fun, welcoming and offer a chance for low income families to be able to have a fun time with their children. My son and Open Book – A Small Library 6.0 7.5 1.5 +25% myself always love the activities especially in a town with not much going on.

The results in the four studies were all positive. The result is slightly less strong than for wellbeing, though it has the highest value which we explore below. Again results are best in A Small Library, again linked to a low starting point and the welcome reduction Moving towards sustainability in the local economy in isolation people felt. All the other results are similar. In Elsoms, the increased understanding of roles was exactly the outcome Transported intends to be sustainable by building an infrastructure amongst private, public and community partners that will the Chairman sought and this went beyond the participants into the wider workforce. In Spalding, there was a particular cross- be able to commission the arts. Sustainability can also come from artists or participants continuing the project or activity. We generational theme. We discussed above how we expected the local resonance of projects to have an effect on outcomes but that saw the latter happening where the work taught could be continued at home, and where participants could discuss amongst it appeared not to be the case - this should be an area for further action research. themselves ‘where do I buy this material’ for example.

Again with audiences the relationship between art and the sense of community – using the local to engage people, and bringing a The following successes from T1 will pave the way for T2. new sense of the local through art was referenced repeatedly in the responses to the final audience survey:

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People in the local economy

Businesses and communities learn to value the arts

We know partners are valuing Transported, because each partner has continued to be involved for multiple projects. Leaders’ Transported Evaluation Report - June 2016 ability to understand the arts has increased, distinguishing art from design for example. As one artist says, in business, they can look at designs based upon look and quality, but in this case there was something missing and we all weren’t happy with designs. Personal stories were important, for example managers’ own experience of the art at FreshLinc and Elsoms was what made them ETAs’ Chain of Events more willing to engage on behalf of others. In some cases, this has been transformational. But as businesses first and foremost, the effect on the organisation is key. How? What? Why? Organisational development is not only important for businesses though with organisations like the libraries using Transported to help them diversify. And an explicit focus on organisations allows Transported to begin to develop its new infrastructure. 3 Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes Working with Transported helped libraries to diversify for example, and helped a community centre to be more resilient. At Fenside, increased use of the village’s centre helped it rebut the imminent threat of closure, building trust between staff and the community and significantly increasing its use. Inspire Celebrate

Building the community from the middle 1 Demand Community Another area of ‘leadership’ comes from the middle. The Events Team Assistants have become valuable advocates for Transported. They

are at the heart of things; and for several their personal experience was profound, and could create a valuable step towards economic Partnerships impact. This role is a ‘para-professional’ rather than professional role. It is similar to for example, learning mentors in schools, or Police

Community Support Officers. The fact that other sectors invest in similar roles could be seen to legitimise the approach. Wellbeing Economy Excellence Creative intent Material culture Knock on effect

Management

2 Supply Skills

Infrastructure Everyday

ETAs

Economy

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Art and Business. © Electric Egg

80 Art and Business. Katie Smith © Transported Evaluation Report - June 2016

The ETAs themselves valued the role extremely high in our focus group and talk about ‘building the community from the middle’. They felt their experience was priceless. Below is a mini-case study of the experience of two of the ETAs:

ETA case study: Joan Rushton and Suu Wernham Transported Evaluation Report - June 2016 Before starting work as an ETA for Transported Joan had worked in finance and Suu was a stage manager and had recently moved to the area. Both saw the advert in the local paper: for Suu it seemed a good way to get to know local communities working in a field that she had some knowledge of. Joan was “intrigued” by the advert, looked up Transported and decided to apply. As well as Artists their other ETA work, and alongside other ETAs, they both played a crucial role within the SROI process, with Joan and Suu each Audiences and Artists’ Chain of Events working closely with one or more of the SROI projects.

‘A significant member of the team’ How? What? Why? Both Suu and Joan were recognised by both artists and Transported team as having a huge impact on the successful delivery of the projects in terms of their ability to encourage participation from the local community, and to make them feel at ease both 3 Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes in engaging with art, and with the evaluation and monitoring which was required. It really helped that Joan and Suu were local and had local knowledge; they could talk and engage people about the local area whilst learning alongside them. One participant reflected that meeting Suu was like ‘she’d met a new friend’; she particularly valued Suu’s friendly approach and it made her Inspire return, and she felt more comfortable when attending Celebrate

“I have done so many different things” 1 Demand Community

All ETAs reported increases in the same outcomes as participants; a development of their artistic skill, their sense of belonging and communal pride, and their everyday wellbeing. Partnerships

Suu particularly enjoyed getting to know the artists, the participants and her Transported colleagues. She felt that it was less Wellbeing Economy pressured than her previous work and that she was learning something as well as contributing to an important social project. She Excellence Creative intent Material culture Knock on effect loved being ‘hands on’. More challenging for Suu was the time management – balancing the data recording with not wanting to impose on the artistic experience of participants. Management

Suu developed a love (and talent) for silk painting and has taken it up as a hobby, she also offers free accommodation to artists who are delivering for Transported but not local to the area. Suu would like to continue working with Transported, she is 2 Supply Skills committed to the values of the programme and sees is as ‘the most important social arts project I have ever worked on’. Infrastructure For Joan, what worked was being part of a good team. She gained in terms of new skills and opportunities: “I have done so many Everyday Audiences different things since joining Transported. I have learnt to do wire sculptures from a single ball of wire and learnt how to draw Artists thanks to the patience of Neil Baker – Artist – from Electric Egg! Having done Fused Glass Workshops with Transported I have since completed a 6 week course which was fantastic. There are too many things to list but I can honestly say that had I not worked for Transported I wouldn’t have had the chance to do any of these. I have a much better appreciation of all aspects of the Arts”

ETAs had a significantly better experience when they had continuity on projects and when they were respected and worked as a team – though they recognised that there was a ‘manual’ side to the job. They particularly valued working on the SROI projects and developed some useful understanding, commenting about another project, 83 This event would have been an excellent subject for SROI as there were very clear quantifiable responses to the teaching aspects of this event. Skills were taught and learnt very quickly and there were positive comments about it being a child free event – ETA.

Our findings show the value of these people as trusted, informed interpreters, advocates or champions for Transported. From national research, the closest parallel seems to be the marketing value of Word-of-Mouth, generally considered to be the most trusted form of promotion.

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Artists’ experience of Transported is on the whole light touch; broad rather than deep. In some cases, though, new work with which the workforce has high wellbeing can make a difference to productivity and profit. Transported enabled artists to develop their practice. With limited tourism and ACE spend, a workforce focus could be effective for Transported, starting with school age children. We Though the artists are in effect just doing their jobs, Transported has made a difference beyond other work. The huge variety of know arts participation of secondary school children can increase academic scores by 1 to 2% and they can do better at cognitive arts on offer allowed them to access different arts, with one artist having ‘opened his eyes’ to theatre. Some improved their skills abilities including literacy and maths, raising scores by up to 19%. Participation can also make them more likely to plan to go onto as a socially engaged artist, reducing the tension they had felt between creating their own work and making it relevant locally, one further education. In an area where GCSE results are so poor, this focus could be welcome. Similarly unemployed people who are artist described letting the young people lead in a project in Holbeach for example. For local artists and Transported staff, there audiences to the arts are 12% more likely to have looked for a job recently compared with other unemployed people (a slightly is an added benefit to seeing their home town supported in a way dear to their hearts, and giving them the chance to work near higher result than those participating in sport)xvii. home – or work at all. The experience for some is ridiculously positive – artist. There are significant knock-on effects of developing the workforce and businesses. Growth in any sector has an impact on the In the model we describe that focuses on organisations, one opportunity could be for artists to promote themselves more wider world, known as the multiplier effect. The rates vary; the British Law Society has recently published results showing that explicitly as creative consultants in businesses. Transported artists are good at understanding the conditions for quality and for every £1 of extra turnover in the law, there is a multiplier of £1.39 to the economy. For the arts it’s £2.01. In the US, the return on authentic relationships; exactly the sort of customer service many businesses struggle with. Coupled with the fun that arts manufacturing creates at least $1.48 in other services and production, and $0.54 for retailxviii. projects can be, these could be very saleable skills to businesses. Anything that Transported can do to enhance productivity will contribute to this wider effect on the economy, but the most Whilst T1 was an action research phase, T2 will require consistent quality if it is to be sustainable by being commissioned locally. obvious and beneficial impact would be in the creative and cultural sector where for every £1 paid in salary, an additional £2.01 is Socially engaged artists must be continually trying new things and we describe above how artists pushed their practice in T1. Every generated in the wider economyxix. project aimed for the best and the ‘braveness’ and constraints created innovation, though artists felt keenly the responsibility of the large investment and the pressures of commissioning. Balancing arts development with a new commissioning infrastructure will require a new approach. Impact on the social economy We have not yet explored a focus on young people although they are targeted by Transported. In addition to the potential for the arts to support them as workers, we know that secondary school children who engage in the arts are twice as likely to volunteer Opportunities for longer term impact and transferable skills can be increased by up to 17%. Whilst there is a preconception that the arts is less engaging than sport, an We have seen emerging from T1 a lasting change in art attendance and a growth of confidence in engaging with arts. In T2 we evaluation of major events in 2014xx by the Cultural Institute at Kings shows that young people are more likely to go to libraries, must more clearly evidence impact in the local economy especially looking at the role of empathy, trust and team-building or museums and historic sites than sports events. 49% consider themselves ‘arty’ whereas 51% consider themselves sport, habits community cohesion. which continue as hobbies in adulthood in a way that could work well for Transported. People in Boston and South Holland are low participators. One proposition is that engaging them in the arts, especially as young Impact in school and the work economy people, will increase their interest in participating in the arts and other activity more broadly. Recent evidence confirms this. Adult arts audiences are more likely to make charitable donations and 6% more likely to be a frequent volunteer. Arts volunteers Business partners are seeing the benefits of working with Transported. FreshLinc was able to launch a project outside parliament are also more likely to be influential in their local communitiesxxi. for example, with obvious brand benefits. They also found drivers more proud and careful of their lorries. Many businesses nationally and internationally are now giving time for employees to volunteer, not only to demonstrate CSR4, but because they A specific objective might be to build social capital, with the project in Fenside being a good example. The project created a photo know it builds the team. album of local people, which resulted in an extra display and Facebook page associated with the community centre, and increased use and trust between staff and locals. Research by the Joseph Rowntree Foundationxxii explores what creates ‘attachment’ Work with businesses has hinted at cost savings, and an increase in morale and trust. This is a very immediate way to realise in a place, which is an important part of cohesive and engaged communities. Attachment is related to strong social networks value. A combination of personal wellbeing outcomes and social outcomes in communities both enhance productivity. Research and is undermined by turnover. With a growing immigrant population and Boston recently reported as ‘the most divided place in xvi in the service sector has shown that productivity is increased by 13% in more a trusting workforce , and building empathy is England21’, work by Transported to aid social relationships is invaluable and the arts are well-placed. As one ETA noticed others clearly a link in this chain. It is clear that this would only follow from a long-lasting impact, and ongoing partnerships would be key. were so confident despite not speaking any English, it made you wonder what job they did when they were so capable and artistic This is likely to mean better participant results too. The results are not only for private businesses, there was clear evidence for with a lump of stone – ETAs. workforce development on the mobile libraries too.

Again, the link between the arts and wellbeing can be brought to bear. Happy people do better at work because they are more Impact on the health economy likely to be adaptable and have skills to meet new challenges. They are less likely to suffer burnout. They tend to feel more job satisfaction and be judged well by the boss, even earning more. And as we’ve seen above, with happy people building better Figures vary about how likely arts audiences are to report good health, but they are all positive. Transported is already taking relationships they are more likely to get support from colleagues. The benefits are tangible. The culture of an organisation in this forward with the project Taking pART, for a mixed group including those with mental health issues. With physical arts like dance the results can be even more positive and not just for physical health, but also with loneliness and depressionxxiv. There is also a virtuous circle between wellbeing and health. Happy people tend to consider themselves healthier. But happiness can 4 Corporate Social Responsibility

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also impact on long term physical health; reducing respiratory infectionsxxv, sports injuriesxxvi and the likelihood of having a stroke for examplexxvii. More obviously, happy people have better mental health. The All Party Parliamentary Group reported in 2014 that wellbeing is even more important during austerity. By improving how people feel and function, we can reduce demand for expensive public services, an obvious objective for the cultural sector.

Open Book. Faceless Arts. © Faceless Arts

Community Events. Robin Woollston. © Robin Woolston 3d. Results: What was due to Transported?

What was due to Transported With an investment over three years, it is important to explore what would have happened without this funding. We want to ensure the outcomes were genuinely new.

39% of people said they had attended an arts activity in the last 12 months, meaning around 61% were new to the arts this year. And on the whole we saw no evidence that Transported displaced other arts engagement to any significant extent. Across the Festivals. Tangled Feet. programme, of those who answered the question (about 600), less than 3% said they’d have been doing anything else that could © Kamal Prashar be classed as arts events outside the house. A few said they’d have been making art or craft at home, and others would have been out at the park or other leisure activities. But by far the majority of those who replied said they’d have been doing either chores or watching TV at home. Given this, there appears to be very little evidence of any displacement effect from Transported

For the businesses and other contributors in the local economy the initiative was genuinely new and influential activity. For ETAs in particular, Transported was an extremely influential addition to their lives

For artists, most would be earning their living through other work, but there was new ‘value added’ in the form of new techniques for some and a greater focus on the community for others. This was particularly true where local artists appreciated Transported happening so close to home.

In terms of changes in behaviour, from event survey analysis comparing repeat attendance by names, we estimate that at least 8,000 of the total audience numbers are repeat attenders (over 10%), and note that some filled in surveys up to 10 times. From feedback at the events, many didn’t agree to fill in surveys again, feeling they’d already given their view, so this figure probably under-represents. This fits with both comments in questionnaires and anecdotal feedback from ETAs that there were lots of people who started coming in 2013 and then continued to attend various events up until the end of the programme.

The online survey sent to all attenders who gave an email address (just under 2/3 of the total) asked specifically how many events people had attended. The responses showed that people tended to have been to 2-5 events (55%), with just under 20% going to 6-10 and just under 20% going to 1. A remarkable 10% had been to 11 or more. They were asked to list which (by name or description) and these spanned the whole range of the programme – from some mid 2013 sessions, to the final few events leading up to Christmas 2015.

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Percentage of people attending more than one Transported event 4. Return on Investment

60 A note on content

50 The detail for this section comes from the four SROI analyses and summaries are included in the appendices. The full reports are also available separately.

40 Measuring Value 30 There is an increasing national interest in measuring value, and this evaluation uses valuation methods accepted by Treasury and recommended by CASExxvii. It also responds to a challenge from Nesta for the cultural sector to do better, saying that we 20 ‘over-complicate in our endless debate… that intrinsic value cannot be measured – when it is obvious that key stakeholders need metrics’. The Warwick Commission and AHRC Cultural Value Project have recently added to the debate. Although Transported is in a local context where tourism expenditure is unlikely there are opportunities to better show the value of the arts, with these 10 examples taken from the Arts Council’s review of literature that lists the LGA’s ways to boost economiesxxix:

0 ■■ Creating jobs 1 2-5 6-10 11-50 over 50 ■■ Developing skills

■■ Attracting and retaining businesses

This, combined with people’s explanations of how the experience of Transported had changed their engagement with art, points to ■■ Revitalising places a lasting change in art attendance, and a growth in confidence in engaging with art that is due to Transported. We know the response from others may be that this instrumental focus risks dumbing down what the arts are really for. So at the same time we should work with a new policy focus on wellbeing, within which the arts perform so well. For example:

Broad and deep extrapolation ■■ Wellbeing (life satisfaction) from arts engagement creates a value per person per year £1,084 We had planned to extrapolate the SROI returns across the programme by matching projects to the four analyses. However, we ■■ Wellbeing (life satisfaction) from library engagement creates a value per person per year £1,359 consider it to be too early. Transported has completed experimental action research in which challenging projects are as valuable as those with easy success. T2 will build strategic partnerships and a targeted marketing approach at which point value should be ■■ Wellbeing (happiness) from visiting museums creates a value per person of £3,200 reliably created. These compare with other values of £1,127 for engaging in sport (excluding health) £1,160 for adult learning, or £10,000 for employment.

Creative Consultation. Electric Egg Ltd. The investment © Electric Egg Ltd. The investment in Transported was £2.6M from the Arts Council, with a further £28K raised from others against a target of £240K. This was expected to include £96K in-kind, and in the end this was £136K.

For ACE this provides a cost per view of £36 and projects ranged from £3.40 to £616 per head (see our reservations about CPV above).

Costs may be higher than other CPPs because of the financial challenges of this rural area. The most relevant CPPs for comparison in T2 would be First Art and Market Place (both statistical neighbours and rural areas).

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Transported’s ACE funding expenditure The returns The outcomes that we value are the audience’s tangible outcomes and participants’ personal and social outcomes along with Budget Proportion of total those for people in the local economy and artists. In the four SROIs this includes: Salaries 742,035 28% Audiences Overheads 291,846 11% ■■ Creation of new, locally focused material culture Arts projects 1,177,165 45% ■■ Increased demand for the arts or library service Marketing 123,001 5% ■■ A sense of people, place and heritage Development 98,689 4% Participants Evaluation 183,677 7% ■■ Artistic skills for everyday lives and artistic awareness Total 2,616,414 100% ■■ Empathy in the workplace, or a sense of belonging and communal pride, or a sense of cross-generational community

Salaries includes managers and AEWs but not ETAs, who are included in the evaluation budget. Arts projects includes artists’ fees ■■ Everyday wellbeing as well as resources. ■■ Businesses giving something back, libraries diversifying, organisations becoming more embedded in the community A small amount of income was generated and in Phase III people paid to attend ‘taster’ sessions. We think this may account for the changing demographic. We also know that on average, travel costs were £2.175. People in the local economy

Other important resources were the contribution of space, especially under-used everyday space, like the canteen at Elsoms or ■■ Local leaders knowing the value of the arts street corners in Spalding. As well as cash contributions, partners also need to contribute significant time and enthusiasm. ■■ Community advocates (ETAs) knowing the value of the arts

To assess the full cost of each SROI analysis we allocated all of the overheads to the projects (adding the salaries, overheads, Artists marketing, development and evaluation costs). We used an accounting driver of staff time (so that overheads were allocated in the same proportion as the time staff spent working on the projects). The overheads are very high, as you would expect from an ■■ Develop quality arts practice with communities action research programme of this kind, tending to double costs. We valued the outcomes using two main methodologies: In-depth analyses, project costs ■■ National research into Subjective Wellbeing Valuation – this equates the increase in a person’s wellbeing from an activity, with the increase in income they would need to generate the same wellbeing improvement. We use values that have been robustly researched Project budget Overheads Total Partner contribution Artist contribution to quantify both the wellbeing participants would get from being involved in the arts, and the wellbeing they would feel from better Elsoms 9,000 21,000 30,000 1,500 cash 1,250 in-kind communal relationships. These range from £1,085 for participating in the arts annually, to £3,919 for a feeling of belonging in a neighbourhood. Spalding 25,250 20,500 45,750 1,250 in-kind ■■ ‘Willingness to pay’ type evidence, including proxy values6 - what people might pay locally for a photography course, what the Open Book – Faceless Arts 13,750 11,500 25,250 3,250 cash chairman at Elsoms might spend on a Christmas meal to ‘give something back’ and what might be spent on training leaders to Open Book – A Small Library 11,000 11,500 22,500 3,500 cash 1,500 in-kind value and be able to commission services of this kind. These values are in the £10s and £100s. ■■ We estimate further value to the local economy using research into productivity and marketing by word-of-mouth. Cash contributions have been made where there is one lead partner. In Spalding there were several partners from the community more broadly. In two projects artists contributed significant extra work unbidden (not prompted by Transported). Skills have small value in themselves, but are empowering and especially when they create tangible results are an important link in the chain leading to personal and social impact. Personal wellbeing has substantial value, with multiple research reports showing that personal and social wellbeing are worth thousands to people. Social wellbeing in particular, a sense of community or belonging, is valued especially high. One researcher (Powdwathee) showed that an income of over £15k would be needed to compensate for having fewer relationships. We use a range of figures from Subjective Wellbeing Valuation, the highest being £3919, for belonging in a neighbourhood.

5 From a large sample of 686. 6 Used where there is no obvious ‘market’ value

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Social Return On Investment From the four projects we saw that value is heighted by a multi-layered approach with lots of opportunities to add value. Key factors include a focus on social outcomes such as the organisation, team, community or long-term generations, the creation of In the table below, we show various SROIs. These are made up of the sum of all the values for the different stakeholders, divided by tangible material culture, and an ability for participants to continue with a hobby. the investment, so a 2.8 return means that for every £1 invested £2.8 of social value was created. Factors that limit the return include operating under capacity or where participation is limited and working with groups where it Although the personal and social outcomes of Transported’s participatory projects are excellent, the return on investment was unlikely to is hard to add value. be high because the projects were not set up for that purpose. They were action research projects, with a sizeable investment intended to test different methods and find out what approaches worked. Nonetheless we can see three projects around break-even. For Transported generally spending more on projects does reap benefits, but primarily for those who are already committed to the arts. Attaching fun activity to existing festivals is just as beneficial, with a particular strength in attracting new audiences. Either We include: way, more could be done to get a return on expensive R&D, in the words of one artist, realising you could do a very similarly project 1. The overall return on investment for the whole budget and all stakeholders during this action research period. with two groups.

2. The return for the strategic partner of this project where there was one lead partner. Elsoms 3. The return as it would be for exactly the same project and results with a 20% overhead rather than the high, action research overhead. Though the return on the partners’ investment was very high and the results were very good - especially in developing empathy in the 4. The return for a realistic forecast model of the kind we would recommend, requiring some adaptation: workforce - overall the value was limited, in the main because of low engagement. The workshops were well below capacity, and there was (by design) not much of an audience for the work, nor were families involved as they had been before. This was a philanthropic ■■ Elsoms – including value of a knock on effect of trust in the workforce onto productivity with a multiplier in the economy. No project, but in the forecast we look at the bottom-line, with an additional estimate of the value of increased trust, productivity and change to the investment, overheads or results. wider economic benefit. We think generating this extra value could be straightforward, as could including families. ■■ Spalding – an estimated value if the participants were to have a less positive starting point and therefore more potential for Targeting key members of staff would be another effective approach, though it might be harder. Offering staff time so that those ‘distance travelled’, equivalent to those involved in the Small Library project. No change to the investment or overheads. with busy lives can participate may pay off in increased productivity. And artists suggested working on a trading estate, where ■■ Open Book – Faceless Arts – an estimated value with greater outcomes, from a group with a lower starting point for example, participation could easily be increased. or from longer activity. We are least confident of this forecast.

■■ Open Book – A Small Library – including value of more diversification in the library service and resultant increased library use. Spalding Project returns from current and recommended models The value generated by the Spalding art trail is impressive, especially with its high costs. The installations provide the opportunity for at least a five-year impact (and in truth probably a 10 or event 20-year effect) which is cross-generational. It is both community Current model Recommended model focused in Spalding, and capable of attracting an arts audience from further afield in the region. It is so multi-layered that there are many opportunities to generate and enhance value, from having more people involved in the R&D, to a stronger engagement 1 Overall return 2 Return for partner 3 20% overhead 4 Forecast model with schools, more extensive publicity for the shops and businesses that host sculptures, and building on the commitment (full O/Hs and 20% of local leaders such as a young counsellor who was scanned. The biggest challenge is that this complexity requires more O/Hs) management, and is not such a straightforward infrastructure. There is also not an obvious commissioner. Elsoms 0.4 6.8 0.9 1.2 Faceless Arts 3.2 Whilst the Faceless Arts project had positive results, its growth is constrained by the shortage of time and space available, Spalding 2.8 N/A 4.2 4.7 which not only limits capacity but also hinders participants’ experience. Delivering at sites where the library stops for an hour or two could help, as could continuing the project over the longer term or supporting an ongoing craft group. It is also attracting 7.0 audiences who are already fairly well off and targeting people like those in A Small Library, who are isolated or otherwise Open Book – Faceless Arts 1.1 9.3 1.7 2.4 disadvantaged could create a more valuable project. As it stands it also has less opportunity for knock-on impact than some other projects; the silk banners were displayed in community centres, but as these venues are divorced from the site of the work, the 3.8 link was not strongly made. Open Book – A Small Library 1.0 7.0 2.1 1.4

3.0

NB these recommended models are medium-term. Longer term developments could generate bigger returns.

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A Small Library 5. Recommendations The Small Library project broke-even for social impact, in the main because of the significant impact on participants whose lives were challenging. This was about both replacing isolation with a sense of community, and personal wellbeing. A small group set up their own creative club which the library could host, and this gives tremendous potential for ongoing value and serves as a good Strategic recommendations model for other projects. There is also the scope for significant impact on the library itself, and some staff were very positive. 1. Create a strategic approach to value with very specific targeting on: This could provide strategic impetus to diversification and attract new library users, with significant value to both the library and the user. This could be strengthened with more attention given to the library display and interpretation that can attract a wider ■■ Social and health economies audience. Developing a strategic partnership with libraries is good for both partners. Work with partners in a multi-layered and diversifying approach, so there are lots of bites at the value cherry. Break down barriers between public services including the arts, libraries, health and schools, especially through considering the personal and organisational needs of the workforce. Target isolation leading to increased trust and social capital, especially through a place- based focus on ‘liveability’. Plan for family outcomes. Make permanent installations where possible that can be shared down the generations and include interpretation of the tangible results for long-term benefit.

■■ Private sector/ work economy Open Book. The Eloquent Fold. © Electric Egg Ltd. Continue to develop partnerships with the private sector that maximise participation for example on trading estates, and through accessible, hobby based artforms that create tangible results. Work towards the biggest possible impact on the organisation through trust, productivity and profit, and bring in as much of an additional audience as possible, including punctuating the project with celebration and other social events. Discuss targeting specific members of the workforce.

■■ Creative and cultural economy

Explore where and how making art in everyday places and other constraints of commissioning can help artists to develop their practice. Make sure this is explicitly shared and not lost from the local economy. Work with artists on direct commissioning, including for example as creative consultants in businesses and other organisations.

■■ Attract groups of those most in need and individuals within organisations

Target demographic groups with significant needs to allow for more value to be added. Target individuals within projects to get them to participate where projects are under capacity. Build on the use of ETAs rather than the arts as advocates, as a friendly, local face.

■■ Create and explicitly discuss organisational benefits and knock-on effects to the broad economy with long-term development of partnerships to strengthen the infrastructure. Develop existing commissioning skills in artists, including with an approach to promote artists as consultants.

2. Maintain and transfer ETA and AEW skills to community advocates and artists

Develop new community advocates with a promotional plan that considers what is being said, who is saying it and where they are saying itxxxi. Ensure the AEWs role focusing on quality is maintained as far as possible, and manage partners’ expectations where quality might drop and where there may also be a gap between the good commissioning practice artists and partners have experienced and upcoming processes with less funding.

3. Develop more partnerships for accountability and advocacy

Share accountability and advocacy so that Transported becomes more embedded locally, taking care not to increase overheads. This could for example include creative colleges.

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4. Develop a three (or four) pronged approach to sustainability Evaluation recommendations

■■ Consider participant’s hobbies as a route to sustainability 1. Continue to use typology coding to learn more about which projects work for whom

■■ Support artists to generate their own income, for example by working directly with businesses and organisations to develop 2. Continue with effective Full-Cost-Allocation (FCA) customer service and workforce ■■ Knowing capacity and making sure it is reached for a given budget ■■ Support partners to commission artists directly 3. Develop a new Story of Change and simple social value model ■■ Keep an eye on opportunities for large structural arts funding. ■■ Including other potential audiences, like visitors or sub-contractors in a business for example

■■ Showing organisational benefits Management recommendations ■■ Learn more about Local resonance and address the development of social capital 1. Streamline financial management and then reduce overheads and costs as the first step in developing models that non-arts partners can directly commission. ■■ Include family participation and outcomes

2. Maximise participation rates and ‘yield’ for every project ■■ Ensure a reach into the long-term, including knock-on benefits to the broad economy

■■ Ensure projects operate at capacity so that the most can be achieved for the budget 4. Consider more national join up including:

■■ Replicate models as much as possible to make the most of R&D costs ■■ Benchmark with statistical neighbour CPPs

■■ Be ready to make difficult decisions when, for example, projects are operating under capacity ■■ Explore the hub town model with other CPPs and ACE

■■ Support sustainability and ongoing work by artists, partners or participants so that outcomes last as long as possible ■■ Themed groups looking for example at infrastructure, recruitment and working conditions for artists, large-scale volunteering (see the National Trust) 3. Improve the language and targeting of publicity materials. Create promotional materials that highlight the value of being engaged to the appropriate stakeholders and that show how people can progress.

Delivery recommendations 1. Maintain a varied programme to target and test certain groups: Open Book. Eric MacLennan. © Electric Egg Ltd.

■■ Where there is a captive audience there is a responsibility to make the arts accessible. Accidental audiences may be more open; plan for both.

■■ Test impact on social capital by highlighting liveability, local need and local resonance. In both arts development and contracting Transported could usefully distinguish between a person-centred and group-centred approaches, possibly using artist in residence and workshop models.

■■ Further research migrant participation and refine focus on Mosaic and AS segments.

2. Emphasise and include participants in the creation of material culture and installations that improve public space, and host celebration events.

3. Implement recommendations from SROI analyses

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References

APPENDICES (Endnotes) i Other local government areas with similar indicators. See www.cipfastats.net

ii Office for National Statistics (ONS) 2012, Transported Business Plan 2013

iii ONS 2013, PHE, 2015 Health Profiles for Boston and South Holland

iv ACE 2015, Rural evidence and data review

v Carried out by The Audience Agency using Experian software on postcodes provided through the surveys.

vi https://www.gov.uk/government/publications/disability-facts-and-figures/disability-facts-and-figures

vii Ipsos Mori 2011, People and places: Public attitudes to beauty. CABE and AHRC

viii What approaches were successful?

We used cross-tabulations of key variables:

■■FEC/L coding

■■Leading indicators for success, a composite of three questions in the audience survey

■■Demographic information

■■Project costs per person/view

ix The vision for the artists is taken from the CPP contract, to be the ‘The bravest, most original, most innovative, most perfectly realised work of which people are capable – whether in the creation of art, its performance, its communication or its impact on audiences – to be measured in its effect on both those who make it and those who experience it. It is the opposite of the safe, routine and imitative.’

x Phase I Review 2014, Transported Past Inspired © Electric Egg Ltd. xi Seligman, for example TED talk, 2004

Most of this evidence comes from various sources brought together in MB Associates booklet An introduction to wellbeing, 2015

xii Lyubomirsky, S King, L Diener, E 2003. Benefits of Frequent Positive Affect: Does Happiness Lead to Success?, Richards 1994 and Kashdan, Rose & Fincham 2004

xiii Whall et al. 1999; Mooney & Nicell 1992.

xiv Fujiwara, D & MacKerron, G, 2014, ACE, Cultural activities, artforms and wellbeing

xv Word-of-Mouth-Marketing Association

xvi Tony Simons HBR Sep2002, The high cost of lost trust

xvii Tripney, J. et al., 2010, CASE, Understanding the drivers, impact and value of engagement in culture and sport: technical report for the systematic review and database

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xviii Economic Value of the Legal Services Sector, Law Society 2016, ACE Literature Review 2015, Bureau of Economic Analysis in Fujiwara, D & MacKerron, G, 2014, ACE, Cultural activities, artforms and wellbeing Industry Week Fujiwara, D, Kudrna, L and Dolan, P, 2014, DCMS, Further analysis to value the health and educational benefits of sport and culture xix ACE, 2014, Value of Arts and culture to People and Society Fujiwara, D, Kudrna, L and Dolan, P, 2014, DCMS, Quantifying and Valuing the Wellbeing Impacts of Sport and Culture xx CASE, 2010, Nielsen, King’s College London 2014 Culture and Major Events Tracking Study Hasan Bakhshi, 2008, Nesta, Five Principles For Measuring the Value of Culture xxi Arnstein 1969, Ladder of citizen participation, DCMS, CASE Jura Consultants, 2004, Bolton MBC, MLA North West, Bolton’s Museum, Library and Archive Services: an Economic Valuation xxii JRF 2008 Influence of Neighbourhood Deprivation on People’s Attachment to Place. Chartered Institute of Housing Knell, J et al, 2015, ACE & Nesta, Quality Metrics/ Culture Counts xxiii Policy Exchange, 2016 Labovitz School of Business and Economics, 2011, Minnesota DfE, Minnesota Public Libraries’ Return on Investment xxiv ACE, 2014, Value of Arts and culture to People and Society MB Associates, 2013, Museum of East Anglian Life; Investing in Culture and Community SROI MEAL xxv Lyons & Chamberlain, 1994. Cited in Lyubormirsky. NFER and Shared Intelligence, 2014, ACE, Using quality principles with CYP xxvi A. M. Smith, Stuart, Wiese-Bjornstal, & Gunnon, 1997. Cited in Lyubormirsky. ONS, 2014/15, Measuring National Wellbeing xxvii Ostir, Markides, Peek, & Goodwin, 2001. Cited in Lyubormirsky. ONS, 2015, Neighbourhood statistics xxviii CASE, 2010, Understanding the drivers, impact and value of engagement in culture and sport Warwick Commission, 2015, Enriching Britain: Culture, Creativity and Growth xxix LGA 2013 WolfBrown, 2014, ACE, Understanding the value and impacts of cultural experiences. A literature review xxx Fujiwara 2014, Hact Value Calculator

xxxi Kumar V, Petersen J Andrew, Leone Robert P, HBR, How valuable is word of mouth

Additional reading and references Active People survey, 2010

Bader Group, 2003, Value of building trust in the workplace

Baker Richards & WolfBrown, 2009, Liverpool Arts Regeneration Consortium, Intrinsic Impact: How Audiences and Visitors are Transformed by Cultural Experiences in Liverpool

British Library, 2010, Measuring our Value

Bunting, Catherine & Fleming, Tom, 2015, Creative People and Places, Governance and Consortium Working: A research project by Catherine Bunting and Tom Fleming

Burns Owens Partnership, 2005, Museums, Libraries and Archives Council (MLA), New Directions in Social Policy: Developing the Evidence Base for Museums, Libraries and Archives in England

Crossick, Geoffrey & Kaszynska, Patrycja, 2016, AHRC, Understanding the value of arts & culture, the AHRC Cultural Value Project

DCMS, Taking Part

Dr. David O’Brien, 2010, DCMS, AHRC, Measuring the value of culture

Fujiwara, D, 2013, The Happy Museum, Museums and Happiness: the value of participating in museums and the arts

Lightships. Francois Matarasso © Electric Egg Ltd

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Art and Business © Electric Egg Ltd. Transported Management group http://www.transportedart.com/about/transported-management-group/

Member Position

Dennis has a background in leisure in local government and has held a Dennis Bell Chair variety of positions in the voluntary sector Rebecca is the External Funding Manager at Boston College which works Rebecca Clark in partnership with Transported as a gateway for Transported to reach the local community. Leszek was a founder member of Bigos-Artists of Polish Origin, Great Britain. He is a member of Blackfriars Arts Centre, Boston and of the Visual Leszek Dabrowski Arts Committee and he has been Chairman of Lincolnshire Arts Society and exhibited widely in Lincolnshire and beyond. Yvonne had her own business in crafts for many years, has worked as a Yvonne Gunter wedding planner and spent some years at Boston Borough council as a Context Councillor. Mauro teaches art in cross cultural settings, collaborating with universities, conservatories, academies and schools. He has worked as an artistic Arts Council CPP intentions Mauro Magilone manager and produces public events, music, cinema, dance, performing arts In addition to its three research questions, and exhibitions in collaboration with different city councils. 1. Are people from places of least engagement experiencing and inspired by the arts? Sue is a freelance producer and consultant who has worked for over 2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved? Sue McCormick 20 years across the theatre and live performances sector in the UK and internationally. 3. Which approaches were successful and what were the lessons learnt? Lincolnshire Community and Gill Williamson is a Senior Volunteering Officer for Lincolnshire Community ACE highlighted that the CPP programme would focus on: Voluntary Service (represented and Voluntary Service based in Spalding. by Gill Williamson) ■■ more people from places of least engagement experience and are inspired by the arts

■■ communities are empowered to take the lead in shaping local arts provision

■■ the aspiration for excellence is central to the activity ACE will support - this covers both excellence of art and excellence of the process of engaging communities

■■ the programme will learn from past experiences and create an environment where the arts and cultural sector can experiment with new approaches to engaging communities

■■ the programme will learn more about how to establish sustainable arts and cultural opportunities and make this learning freely available across the cultural sector

■■ the programme will encourage partnerships across the subsidised, amateur and commercial sectors (which be reflected in the choice of SROI analyses)

■■ through these projects the programme will demonstrate the power of the arts to enrich the lives of individuals and make positive changes in communities Open Book. Pestiferous © Electric Egg Ltd.

102 103 Empty Shops Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

Local area Transported delivery To demonstrate levels of participation, both in the arts and in social activism, we include the following maps. NPOs are Key Organisations in the Arts Council’s funded National Portfolio. Transition Towns is an international grass-roots movement in communities, and Fun Palaces a national activist arts campaign: May 2013 – August 2013 Phase I Consultation (Funded August 2012, launched May 2013) NPOs by resident postcode 2015/18 Unique post codes toured to by NPOs 2012/13

Phase II Diverse delivery through 11 Strands September 2013 – December 2014

Phase III Focus on partnership and sustainability January 2015 – March 2016

Number of events and participation levels

Number of events by phase Participation by phase

Total: 895 Total:

149 11,294

30,484 216 530 30,865

Transition Towns registered on www.transitionnetwork.org Fun Palaces

NB Phase I includes large launch event that 4,000 attended

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Number of events and attendance in towns and villages Participation at Locally Resonant events

Location Number of attendances Number of sessions Boston 24,379 378 Transported’s engagement and empowerment plan Spalding 12,730 212 The aim beyond engaging locals with the arts, is to move them up a ‘ladder of participation’ by being either a passive but engaged Long Sutton 987 80 audience member, or actively taking part. Holbeach 1,272 45 Swineshead 623 43 Transported Focus Gosberton 688 36 Unknown 1,920 33 Instigator Quadring 312 32 Crowland 540 24 Moulton 382 23 Leader Empowerment Whaplode 377 16 Wrangle 2,527 14 Algarkirk 91 11 Participant Fishtoft 896 10 Pinchbeck 477 10 Surfleet 555 10 Potential Moulton Seas End 164 9 Frampton 1,885 8 Holbeach St Marks 406 8 Reluctant Donington 893 7 Engagement Lutton 87 7 Bystander Saracens Head 52 7 Sutton St James 147 7 Tydd St Mary 19 7 Unengaged Bicker 274 6 Gedney Dyke 17 6 Gosberton Risegate 11 6 West Pinchbeck 76 6 Cowbit 303 5 Kirton 132 5 Sutton Bridge 616 4 Frieston 58 3 Moulton Chapel 127 3 Sutterton 423 3 Wyberton 428 3 Holbeach St Johns 121 2 Gedney 4 1 Gedney Drove End 138 1 Weston 1 1

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Featured projects

■■ Two projects from Open Book in mobile and static libraries; a silk painting and a paper sculpture project, with Faceless Arts and the Eloquent Fold

■■ An art trail installation by Joseph Hillier with Spalding Civic Society and local schools of 3-D sculptures of local people in context Transported Evaluation Report - June 2016

■■ A photography project and exhibition with Elsoms seed company workforce

■■ Reference to Elsoms’ previous dance project with Assault Events Drivers - How the project came about 427 people attended the performances and workshops Project dashboard Part of Transported Live, to take projects to the workplace and those that ■■ Reference to FreshLinc’s Art on Lorries wouldn't normally engage with the arts. Assault had worked in Lincolnshire before so were familiar with the area & had worked with people who didn't usually access professional arts. Were excited about ■■ Reference to Fenside community photo album project the chance to work in a factory environment. Elsoms were keen to be involved in something 'different' and wanted to do something to complement ■■ Reference to the Lightships creative book commission in 14 churches Inspire, consult, build, empower, deliver staff''s own initiatives outside work e.g. charity fundraising.

Lead: [email protected] Delivery - What the project did Strand: Transported Live A six week residency in which Assault dancers, director and Event in Spalding Dashboards When: June 2014 to October 2015 choreographer developed the work in the communal canteen area whilst Where & what: Contemporary dance, Elsoms factory/warehouse site having access to the factory, warehouse and offices of Elsoms to talk to See dashboards for the projects refered to below Key people: Assault Events staff (artists), Roger Keeling - Elsoms Chairman, people and see how everything worked. Assault wanted to create a show Transported Arts Engagement Workers - Natalie and then Kristina, Simon which would reflect stories that staff at Elsoms would be interested in and Hollingworth ('quality czar!'), Elsoms staff would reflect their work and experience at Elsoms. The work was Features for success developed in the shared canteen space so Elsoms staff were able to see Spalding what was happening on a day by day basis. This developed the interest l Commitment of Elsoms to take a risk and host 6 week residency of people who might well not have 'signed up' without that insight. Students l Quality - 'it is so important that people who find it difficult to access the from Spalding High took part in workshops and came to performances too. arts get the best we can offer.' (Artist) l Spalding High relationships with Transported, Elsoms and wider l Access to and involvement of Elsom's staff at all levels, ability to work in Difference made - Why it was done the shared canteen space, having access to 'kit'! 'We try to de-mystify the difference, there's not much difference being a l Right artists for right project - building on experience of creating dancer or working in a factory, they’re just different jobs. We are making performance together with people in their own environment the art something everyone can access.' (Artist) Learning and challenges Elsoms felt that the process and the performances had created a sense of pride and boosted the sense of community amongst the workforce - 'The l The constantly moving workspace - warehouse only finished 2 weeks final piece was uplifting and reflected postiive things people had said about before performance & kit constantly moved around. Needed flexible Elsoms; people came away feeling uplifted.' (Chairman) One older man structure and adaptable performers cried when he saw the performance. He said he didn't know why but he l Contemporary dance 'doesn't have the reputation as the most that he was touched by it and he felt it was uplifting. Another woman hadn't accessible of art forms'. (Artist) played the violin for 20 years but played in the performance and said she l Busy time of year for Elsoms field based staff and those in the labs so didn't want to stop. There was an additional performance at 5pm and many they didn't have the same opportunity to participate of the staff brought their families and friends to it having seen it themselves earlier. Beyond 2014 The school now sends students to other Transported events and an arts Transported and Elsoms agreed another artist residency using residency beyond the programme with Highly Spring. They have work photography and upskilling staff, to record and curate an exhibition on experience at Elsoms and are more embedded in the community. harvest past and present. Elsoms will host a business lunch to promote the Assault wanted a positive focus and to create a sense of pride in an value of arts in the workplace. amazing workplace - 'there's a great feeling of family with a history going South Holland Centre will trial ticket promotions to track staff from workplace back a long time. Side by side you've got a working machine which is 100 to public arts performances. Assault have been given the confidence to years old and a new one costing millions of pounds... we wanted to reflect take their method to other workplaces. all that in a way people could recognise and feel a sense of pride.' (Artist)

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Haulage. Alicia Miller © Electric Egg Ltd.

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Drivers - How the project came about 2740 people attended the mask and puppet performance, mostly adults Drivers - How the project came about 118 people attended the events Project dashboard StrangeFace applied for a Transported Live (restaurant workplace) 30% Project dashboard Consultation led to On Your Doorstep, which invites communities to commission. They were interviewed, and Transported felt they would nominate spaces to be improved with art. Sandra heard from the CVS, 25% work better on this project - with a food packing company, Freshlinc, and nominated an under-used community centre in a deprived Fen Boy specifically performing on the back of Freshlinc lorries. The project was 20% Fenside community with a lot of tension, including with the migrant community. aimed at the communities of Boston, South Holland and Sutterton, 15% Sandra wanted to bring people into the centre to tell their stories. including those whose second language is English. 10% Conversations with Transported ensued and Paul Floyd Blake was Inspire, consult, build, empower, deliver Inspire, consult, build, empower, deliver appointed after a rigorous interview process. 5% Lead: [email protected] / Kristina@ Delivery - What the project did 0% Lead: [email protected] Delivery - What the project did Participant addresses Strand:Transported Live The approach StrangeFace takes (with mask and puppets) is a great Strand: On Your Doorstep (public art) The 6 day project launched with a day at the community centre, which Event in Boston

When: July 2014 to September 2015 way to engage with people whose first language isn't English as it is 16-24 25-34 35-44 45-54 55-64 When: August 2014 to November 2014 no-one attended. The artist and former mayor walked the streets on day 65 plus65

Where & what: Development in three schools and performance locations on more about physicality than speech. StrangeFace designed a Under 16 Where & what: Photography at Fenside Community Centre (artwork on 2 to meet people in the community. They told their stories and shared 'the back of a lorry': 4 x park, 2 x Boston, 2 x Spalding, 2 x Sutterton. performance called FenBoy which was unique to the location. School They came from across Boston, South Holland and beyond. For most the outside, exhibition and album inside). photographs. The artist took new photographs and with support from Key people: Russell Dean (Artistic Director, StrangeFace), Simon activity developed the piece and then 10 performances on five days took this was new activity Key people: Lauren (AEW), Sandra (Community Centre Coordinator), staff and volunteers, people brought their photos into the centre. A photo Hollingworth (Quality Assessor) Rosie (AEW), Andy Tubb (Freshlinc place on the back of Freshlinc lorries around the area . Interactive Participant addresses Paul Floyd Blake (Artist), community centre volunteers, Paul Kenny album was designed and created and is now a live history book in the driver), Ashley Holland (Freshlinc). 'behind the scenes workshops' were delivered after each performance. Events in Boston, Spalding, (Mayflower participation officer and ex-mayor) and Mick Taylor centre. There is also an exhibition inside the centre that staff and people StrangeFace developed their usual techniques further to meet the from the community curated together. Photos of people will be attached to Features for success challenge of attracting attention to the back of a lorry. The ideas worked Features for success the outside of the centre; launch 16 January 2015. l l Working with Freshlinc was 'mutually beneficial' for everyone; taking well for those who saw it and for Freshlinc. It has created a bit of a buzz Flexibility - Transported, artist, and community centre staff/ volunteers art to new people where they already meet amongst staff and participants. re-shaped the project to meet the needs of the Fenside Community to l Lorry driver and assistant were instrumental in setting up each ensure they were engaged. Difference made - Why it was done l Choice of artist - process was thorough and the artist 'was right performance - 'they couldn't have been more helpful' Difference made - Why it was done 1. People use the community centre more now, making its existence l 'Very valuable that art was in an interesting space ... It indirectly for the job - he shared our vision' (Community Worker) 1. 'I have always thought that it would be great to see a desire to make more justifiable - it is currently vulnerable as it is next to land being built addresses people not seeing art as for them'. (Artist) l Working with key people to establish trust - former mayor and artist art different become a reality - a way of diffusing theatre. Having art in on with flats. Some who haven't been for years came back to the l Marketing strategy - building interest in schools - people came! walked the streets together to connect with the community work places / cafes / out in the open helps to break down the barriers - launch. l Attracted TV coverage from Look North New activity 55% l Participants also came to Family Arts Festival and Faceless Arts people can enjoy themselves and see that theatre is not a product it is an 2. Sandra and team can consult with the community now that they Not new activity 24% Learning and challenges event. We are a catalyst for this'. (Artist). Learning and challenges attend. There is greater trust between staff and the community. 2. StrangeFace went into some schools to deliver mask workshops. 3 The community centre is more vibrant - the exhibition and photo album l A different process for StrangeFace, who are used to applying for l Short, 6 day project. More could have been achieved. Schools were ENORMOUSLY supportive. The nature of masks and were impromptu (the exterior pictures were the intended result) but as a Arts Council funding and are then 'left to their own devices'. Most attended by chance (in the area) ... but would still recommend l Initial contact with community - the first day of the project no one came creativity was different to ordinary teaching, it can be transformative. result the centre is more welcoming. They create a reliable talking point. Transported were interested in the process and wanted to watch the to the community centre. A different approach was needed quickly. The 3. 'When FenBoy goes into a space, the space transforms. This 4. The Facebook page is used by people to continue to talk about their rehearsals - at times difficult for the artists. Eastern European community didn't engage as much as the team had permeates into the space and people remember spaces differently Try something stories. For example, photos have been uploaded of babies born since l Health & Safety - a huge consideration for the entire project. The hoped. People just associate Boston and South Holland with shopping and new the project which will also be added to the album. support of Freshlinc here was vital. being part of the 'function' in society. FenBoy (and art) changes the Support local 5. Fenside has a history and it is valued and recorded. l The importance of a warm up act to attract 'passers by'. space and makes the space different, it will be different in peoples events Beyond 2014 6. The community learnt a lot - Paul explained why he took a photo in a memories and it gives the space back to the community.' (Artist) The photo album is now permanently in the community centre. Sandra certain way to them and shared basic skills, which was not commonplace Beyond 2014 4. Sharing a different way to be involved in art and trying to get away General appeal aims to update it with the community, 'building on our history'. The at the centre. The community were interested in learning. 'Communities Transported has commissioned StrangeFace to develop the piece into from celebrity culture....this helps to break down the lack of equality that exhibition inside the building will continue to draw people in. Residents like to be involved and commit - too many people are divided and put Time with a full length show for indoor, non-traditional venues to build on have asked for a photography club at the centre and an art studio in a can be associated with art. It is political. family/friends down (especially working class and unemployed)... people do want to partners from other strands - taking this to Fenside and Elsoms. 5. Professional development - staff knowledge (particularly about health nearby centre which is soon to be demolished may be incorporated into contribute... when people had the chance to tell their stories they got Would recommend 80% The partnership between Transported and Freshlinc will continue and safety considerations) has increased significantly. In the area Fenside. Paul Floyed Blake has been commissioned by Transported to animated and were proud and were validated.' (centre coordinator). A through the Haulage Stand. 6. FreshLinc drivers came with their families to see Fen Boy and were Would not recommend 5 % to record objects with meaning as new portraits for the community. coincident careers cafe project has seen clients show great interest in the inspired to buy panto tickets for the first time. artwork. Portraits 0% 10% 20% 30% 40% 50%

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Drivers - How the project came about Drivers - How the project came about 508 people attended the performance of all ages Transported were keen to work in libraries as community hubs beyond Project dashboard Transported wants to break down barriers to accessing the arts and they Project dashboard 40% ordinary library use, and library managers saw an opportunity to do asked Freshlinc to be a partner; Art on Lorries is a mobile art gallery that 35% also reflects South Lincolnshire. Staff at Freshlinc were involved in initial something different at a difficult time for the library service itself. Eric A Journey to the 30% consultation before the brief was agreed. made a pitch for the commission having just completed a piece for Art on Lorries 25% The artist got involved after seeing a brief published. It appealed to her Centre of Your Heart Birmingham Library. He had already developed some ideas, inspired passion and background using trailers as an enormous travelling by the philosophy of Xavier de Maistre - looking at the everyday so it's 20% Inspire, consult, build, empower, deliver canvas, and working with people in their workplace. Events took place in extraordinary and new, and even tiny journeys with the outlook of a 15% fields around South Inspire, consult, build, empower, deliver Holland great explorer are filled with discovery and surprise! 10% Lead: [email protected] Delivery - What the project did Lead: [email protected] / Grace@ 5% Strand: Haulage The main approach was for the artist to meet farmers, pickers and Delivery - What the project did When: July 2014 to April 2015 packers who grow and pick the produce for FreshLinc, as well as local Strand: Open Book/Libraries Eric spent a week on 'R&D', and two weeks performing in 5 libraries 0% Where & what: Designs on the side of ten FreshLinc lorries communities, and then to follow the produce from the farm stores to When: 19 performances from 19/6/14 - 28/6/14 (one week development) across Boston and South Holland. Visitors were taken in a 'warm and

Where & what: Interactive performance in 5 libraries gentle way' to look on before deciding if they wanted to participate and 25-34 45-54 Key people: Artist - Alisha Miller, Arts Engagement Worker - Kate Thomas, loading onto lorries. The work started where people were - at work - plus65 all levels of staff at Lincolnshire Field Products and some at FreshLinc, and focused on their existing experiences, such as appreciating the Key people: Eric MacLennan - creator and performer; Craig Byrne - early they had a choice of three pieces: 1. Suitcase - a chance for people to Under 16 especially Ashley Holland and Lee Juniper design of someone's tattoo. The artist used postcards for people to write support; Arts Engagement Worker - Rosie, Simon Hollingworth (Quality look at everyday objects chosen and/or offered by previous audience Participants came from across Boston and South Holland. For most this down ideas in response to the question: 'If I was to create a landscape Assessor); all library staff especially Trude at Pinchbeck members; 2. Journey to the Centre of your Heart - a 14 yard journey was new activity Features for success Participant addresses about Lincolnshire what would I need to include?' both at work and at across the library involving different encounters and experiences along l Project launched at Parliament! In libraries in Boston, Pinchbeck, Spalding Pumpkin Festival. The artist created Mind Maps in the the way; 3. A 'spoof' lecture - A short history of the fork inspired by the l Well resourced, allowed artist to develop ideas like a 'Mind Map' for Features for success Spalding, Holbeach, Sutton St James FreshLinc offices and finally made the lorry designs. The designs will be l least borrowed book in all Lincolnshire! non-English speakers; gave confidence people liked her ideas Performers being actively welcomed by library staff live early 2015. l Library staff were particularly instrumental in supporting performances l Lincolnshire Field Products manager gave time, access to staff and Transported support on development, practicalities and marketing l and in some cases also participating. aspects of the business, and space on ten lorries for the designs. A week's 'R&D' at the beginning at the libraries themselves Difference made - Why it was done l Other staff were generous and complimentary Built on 'Pestiferous' in Health & Wellbeing week, so the team knew It is early to see the results, but with 60 out of 250 postcards returned Lorry drivers have a strong tradition of pride in their vehicles. The project Difference made - Why it was done l Experience of the artist working with people in their workplaces site-specific performances worked there was certainly enthusiasm for the work. Leaving the Mind Map (for appeals to them and has raised morale, creating some discussion about Eric wanted to help people see the extraordinary in everyday objects l Attracted TV coverage from Look North l Ability to offer one-to-one experience to people for free non-English speakers) in the office space prompted some replies which which lorries they want to drive. The London lauch and Facebook and experiences. 'One of the great things is that you are offering an arts Learning and challenges were hand painted. The artist hopes that when she goes back to see the exposure of the film has spread the word, and managers believe the project Learning and challenges experience that is free. The economics of this are such that you can’t pickers and packers they will feel that the artwork values their role in will raise the profile of FreshLinc as it gives something back to the community. really sell tickets for one to one performance. It needs funding to enable l Challenge getting access to drivers at FreshLinc - 300 lorries, but l Travelling between libraries on one day was logistically difficult society - 'People don't really think when they buy a cabbage from Asda Some people who have been involved might now be more receptive to other it to happen. It’s a chance to offer something which is quite innovative New activity 80% only managed to reach a few l Could have extended reach by arranging school visits, as well as that someone has stood in a field and cut it with a knife. Brocolli and art projects; drivers have already brought their families to other shows. and experimental to people who have no preconceptions.' l FreshLinc office sometimes seemed too busy to be able to get involving younger children with parents and others after school Not a new activity 14% pumkins are also handpicked by someone, I hope they see it as a 'It’s a bit of a bold claim but these three pieces are showing the people involved - 'it was like the stock exchange!' l Sutton Bridge Library is volunteer-run; harder for them to support as validation of their work.' extraordinary about the mundane. If the penny drops with that then it l Artist had wanted to do more sketches in the fields but felt it risked no one had authority for decision making Most wanted something new or local ... and would recommend to others 'A lot of the guys said they liked working outdoors and that me going does give people the chance to see the world in a different way.' alientating people by taking too much time so relied on photos instead l Some of the work a bit 'challenging' for the library users, but The project was a chance to connect for people - especially those who Try something there looking at things like the sunrise or the colour of the brussell sprout Transported wanted to take the risk might be ignored in society like some older people. One retired woman new leaves made them think about it a bit differently.' Lorry artwork l One on one piece about depth rather than numbers of people came to Holbeach and returned to see the performance in Spalding, Support local Beyond 2014 bringing a contribution to add to the collection of objects for the suitcases. events Transported will commission Art on Lorries 2 with new artists and had Beyond 2014 'Little things like that give an indication of the fact that the project touched introductions to other businesses through Freshlinc. In addtion to being Another library piece called Book Worm will tour most libraries. Eric has people.' General appeal displayed on the lorries, some of the artwork might be made into been commissioned (beyond Transported) to make an installation A From a library perspective it helped provide an alternative focus at a Time with billboard posters, maybe before they are put on the lorries, like a film Voyage Around My Bedroom as a result of this work. He has also taken time when the library service itself has been under great strain and family/friends 'trailer'. Online descriptions of the work by the artists will share with the work he developed for Transported to other audiences. 'What the disruption. It also showed that the library can offer a wider service and Would recommend 83% participants and new companies. project has enabled me to do is to investigate the ideas on a bigger scale. support its customers in different ways. Happened to be They are all potentially ongoing pieces. All have a recording and in area Would not recommend 9% documentation that is growing'. 0% 20% 40% 60%

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Attendance by Mosaic Local population and attendance by Mosaic sub-code

Transported Evaluation Report - June 2016 20% Transported Participants Boston and South Holland 18%

Drivers - How the project came about 120 people consulted in Bicker, Cowbit, Fishtoft, Gosberton, Holbeach St 16% Project dashboard Transported had not yet worked with any of the 14 villages and Marks, Moulton, Moulton Chapel, Moulton Seas End, Pinchbeck, Quadring, wanted to complete consultation with all villages in Boston and Sutton St James, Swineshead, Whaplode, & Wrangle South Holland by beginning a dialogue with the communities about people at celebration events in 4 villages (providing this data) 14% what they might be interested in. It was a creative commissioning 169 The Lightships process. 'People in the villages didn't need the project' (Artist). The artist's idea was based around the importance of churches in Participant addresses 12% Inspire, consult, build, empower, deliver the community - lots of people care about churches without being Villages Lead: [email protected] 'church goers'. 10% Strand: Creative Consultation When: May 2014 to November 2014 Delivery - What the project did Where & what: 13 churches and 14 locations This principally involved people who have a connection with the 8% Key people: Francois Matarasso - Artist, Church Wardens. Arts churches and chapels in the 14 villages that Francois worked in. Engagement Worker - Lauren. They were not necessarily part of the congregation. An 6% underlying idea / principle of the project is that those involved are Features for success co-producers of the work. Meetings with the community were set Image from The Lightships up by Francois or Lauren (AEW), with support from Church 4% l The Transported team 'were brilliant', Lauren in particular. Wardens. Francois recorded conversations with people and from Francois couldn't have asked for better support. They knew a lot Most were new, and this was an that he ended up with approx 80-90k words of transcripts. The about the work and quickly connected to the villages older age group heart of The Lightships book is entirely the words of the people 2% l As a 'Creative Consultation' - the project was based on listening to that Francois met; edited into a big conversation, with nothing stories/ memories/ feelings about the church, what matters to people added. Community events have been held to celebrate the work 15 60% and what they want to do next 0% and gift those involved with a book. The book has been published % l The book - the end point of the consultation process was 50% 100 given to each church for fundraising or giving away. It is also something tangible that can outlive the project itself available for sale in bookshops. 40% l Celebration Events - a great end and book launch 85 Difference made - Why it was done % 30% 1. People feeling valued and that their life, experience, village,

Learning and challenges Vogue C11 Rural D15 Local Focus l Cost and capacity - The project took about twice as long and a and what they care about is valued. 'That is the strength of a 20% New Not New J42 Midlife Stopgap J43 Renting a Room E19 Bungalow Haven greater budget than planned, so may not be replicable book. In the world we live in books pertain a significant value and D16 Outlying Seniors D14 Satellite Settlers

10% H31 Affordable Fringe l Accessibility of the website created and lack of email addresses - status. Something in a book is deemed to be important. It can be of I39 Families with Needs I39 Families many community members do not access the internet. As a result the significance'. 0%

As a celebration, few attended C12 Scattered Homesteads website became a public-facing 'telling of the story' and people had to 2. Possibly financial - Each of the churches will get 100 copies to by chance and all recommend be written to sell at flower festivals and to visitors. Transported are using the 16-24 25-34 35-44 45-54 55-64 65 plus65

l Church Wardens were crucial in brokering relationships with church as a mechanism to distribute the books to give them a under 16 Something new community members. return (the church will keep the money and it will go into church funds). If the book sells (it is also listed on Amazon)...Transported Support local… Beyond 2014 will recoup a certain amount of money (sale of £5 per book). 3. People from the communities see their churches in a different General appeal of In 2015 Transported has consolidated taster sessions to five art forms 100% light - more people have visited them as a result and may use people would which were preferred by the community. Taster sessions are planned them again in the future. Family/ friends recommend for March / April informed by audience surveys. Conversations with Waterstones and local sellers are taking place In the area about stocking The Lightships in store as well as with Amazon online. 0% 20% 40%

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Evaluation

Event survey questions 9. How did you find out about this event? 13. What would you be doing if you hadn’t come to this 20. Do you consider yourself to have a disability? ■■ Came across event activity today? ■■ Yes Event name: ■■ Word of mouth/from a friend ■■ No 14. Are you aware of Transported? Event location: ■■ Transported ■■ Prefer not to say ■■ Yes ■■ Poster or flyer ■■ No 21. Name Event date: ■■ Transported website ■■ Transported meal 1. Why did you choose to attend today? 15. Have you been to a Transported event before? 22. Email ■■ Facebook ■■ The general appeal of the activity ■■ Yes ■■ Twitter 23. Postcode ■■ To support local events ■■ No ■■ Local radio ■■ Happened to be in the area ■■ If yes, please indicate which ones: 24. Please tick here if you would like to hear about more ■■ Local press ■■ Spend time with family/friends Transported events in the future ■■ Council website or publication 16. Are you: ■■ Try something new ■■ Via venue ■■ Male 25. Do you have any additional comments? ■■ Other (Please specify) ■■ Other (please specify) ■■ Female 2. Who have you come with today? ■■ Other 10. How did you travel to the event today? ■■ Alone ■■ Prefer not to say ■■ Car ■■ My friend(s) ■■ Train 17. Please indicate your age ■■ My family ■■ Taxi ■■ Under 16 ■■ My group (please specify) ■■ Bus ■■ 16-24 3. How many people have you attended with apart from ■■ On foot ■■ 25-34 yourself? ■■ Bike ■■ 35-44 ■■ Adults: ■■ Other (please specify) ■■ 45-54 ■■ Under 16s: ■■ About how much did it cost you to travel to this activity? ■■ 55-64 ■■ 65 plus 4. What would you say was the best thing about this 11. Have you done any of the following in the last 12 activity? months? 18. What do you consider to be your ethnic group? ■■ Visited a museum or gallery ■■ White British 5. What would you suggest we change to make this activity ■■ Visited a public library ■■ White Other better? ■■ Visited a heritage site ■■ Black How much to you agree/disagree with the following ■■ None of these ■■ Asian statements ■■ Engaged with the arts (eg live music, theatre, crafts etc) ■■ Mixed ■■ If you have engaged with the arts please specify below ■■ Other 6. The type of activity is new to me ■■ Prefer not to say 12. After today’s activity do you plan to engage with other 7. I would like more activities like this in my area arts activities in the next 12 months? 19. What is your main language? ■■ Yes ■■ English 8. This is something I would recommend to other people ■■ No ■■ Latvian On Your Doorstep. Richard Janes ■■ If yes, what sort of arts activity would you plan to do? ■■ Lithuanian ■■ Polish ■■ Russian ■■ Prefer not to say ■■ Other (please specify)

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Mosaic codes Families with limited resources who have to budget I Family Basics 158 7% Numbers and % attendance by Mosaic group, showing subgroups that are well represented to make ends meet J Transient Single people privately renting low cost homes for 297 14% Renters the short term. Mosaic code Transported participants J43 Renting a Transient renters of low cost accommodation often Group Name Sub-group Definition Count % Room within subdivided older properties A City High status city dwellers living in central locations K Municipal Urban renters of social housing facing an array of 2 0% 58 3% Prosperity and pursuing careers with high rewards. Challenge challenges B Prestige Established families in large detached homes living L Vintage Elderly people reliant on support to meet financial or 6 0% 47 2% Positions upmarket lifestyles. Value practical need. C Country Well-off owners in rural locations enjoying the M Modest Mature homeowners of value homes enjoying stable 241 11% 40 2% Living benefits of country life. Traditions lifestyles. C12 Scattered Older Households appreciating rural calm in N Urban Residents of settled urban communities with a 2 0% Homesteads standalone houses within agricultural landscapes Cohesion strong sense of identity. Householders living in inexpensive homes in village Educated young people privately renting in urban D Rural Reality 807 38% O Rental Hubs 9 0% communities neighbourhoods. D14 Satellite Mature households living in expanding developments Settlers around larger villages with good transport links D15 Local Rural families in affordable village homes who are focus reliant on the local economy for jobs D16 Outlying Pensioners living in inexpensive housing in out of the Seniors way locations E Senior Elderly people with assets who are enjoying a 142 7% Security comfortable retirement E19 Bungalow Peace-seeking seniors appreciating the calm of Haven bungalow estates designed for the elderly F Suburban Mature suburban owners living settled lives in mid- 107 5% Stability range housing. G Domestic Thriving families busy bringing up children and 88 4% Success following careers. H Aspiring Younger households settling down in housing priced 135 6% Homemakers within their means

Creative Consultations. Katie Smith.

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Audience Spectrum codes Home and Heritage Rural areas and small town, day-time activities and historical events 489 16% Numbers and % attendance by Audience Spectrum Group, listed in order of likelihood to engage, showing pen portraits and longer Older people, 97% are aged 60+, half are in couples and half are widowed with descriptions for those that are well represented. no children at home. There is a bias towards single females. This is a not a highly engaged group, limited by physical access to an appropriate arts and cultural offer AS Code Description, ‘Pen Portrait’ Transported and the means to get there. They have clear preferences for familiar, mainstream participation Group name MB longer definition programme offers and a leaning towards classical content across a range of artforms. They are the least likely segment to use any social networking sites. Count % Although generally comfortable, the large majority are retired, living on a household income of less than £20,000 per year. Metroculturals “Prosperous, liberal, urbanites interested in a very wide cultural spectrum” 3 0% Up Our Street Modest in habits and means, popular arts, entertainment and museums 462 17% Commuterland 33 1% Affluent and professional consumers of culture Culturebuffs Mostly aged between 51-65 years old and heading towards retirement. There is a significant proportion of singles (44%) in this segment, along with older married Experience Seekers Highly active, diverse, social and ambitious, engaging with arts on a regular basis 15 0% couples and families with grown-up children and grandchildren. Living on average or Dormitory Suburban and small towns interest in heritage activities and mainstream arts 486 13% below average household incomes, so access in all its forms can be an issue. Most Dependables rely on lower to middle incomes of between £15,000- £25,000. They lead modest Tend to be are thriving, well off mature couples or busy older families, about two lifestyles, enjoying inexpensive hobbies and occasional treats. While neither frequent thirds of households have an income of over £25,000 per year. A quarter have done nor adventurous attenders, people in this group do engage with a range of cultural some form of voluntary work in the last 12 months. Most live in suburban or small experiences particularly locally based activity that’s tried and tested, outdoor towns and show a preference for heritage activities alongside popular and more festivals, theatre and music or live streamed events. traditional mainstream arts. Culture is more an occasional treat or family or social outing than an integral part of their lifestyle. Arts and cultural organisations’ Facebook Families Younger suburban and semi-urban, live music, eating out and pantomime 814 19% websites are widely used as a place to find out information about events, artists, Younger families, mainly under 50 years old. Particularly likely to respond to Free performers and venues. Family friendly offers – local with a more popular or community focus. With 84% on Trips and Treats Mainstream arts and popular culture influenced by children, family and friends 842 22% salaries less than £25K and 26% on less than £10K, these families are financially squeezed and many are claiming multiple benefits to make ends meet. This group, Tend to be comfortably off and living in the heart of suburbia. Children range in of all the segments, have amongst the highest use of the internet and email. They ages, and include young people still living at home. Enjoy active lives which involve are the most likely to use Facebook every day amongst other social media and make arts and cultural engagement for predominately social and educational reasons. extensive use of texting and free messaging. This group are least likely to feel that They are more likely to engage with cultural events promoted as fun, family friendly culture makes a difference to their area or benefits them, although there is a sense and educational and have above average attendance at museums, galleries and that they do feel it is important, perhaps for others who have the time, money, access particularly heritage sites. Many are also involved in craft, photography and playing or opportunity. a musical instrument. Salaries, while not high, do offer a comfortable standard of living. This group has an average level of education for the population, and is mainly Kaleidoscope Mixed age, low level engagement, free local events, outdoor arts and festivals 79 1% employed in mid-level professions or lower management, with some in supervisory Creativity roles in highly skilled.

The group contains a broad spread of ages up to 60 years old with 58% aged between Heydays Older, less engaged, crafts, knitting, painting, sheltered housing, church group or 459 11% 31- 50. 50% are households with children and most live in family homes where older community library The vast majority are retired, and living on low incomes. More than children may have either left, are frequently coming and going, or still resident. half have long-standing health problems, for which regular care and/or support is required. This group is the least likely to attend or take part in arts or cultural event. If they do engage this is likely to be participatory such as crafts, knitting, painting, reading and writing activities organised by their sheltered housing, church group or community library.

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FEC/L coding Essential features Likely features All projects coded according to what type of delivery was PLANNED. Fun – a light touch experience for audiences which tends to be social and energetic. An example is the festival events.

■■ People visibly enjoying themselves ■■ Outdoors or larger scale, fesitval style

■■ People visibly enthusiastic ■■ Tried and tested approaches Fun ■■ Relatively short experience ■■ People tend to be socialising or interacting People are enthusiastic and It’s a short ■■ People want to do it again ■■ Physicality or energetic visibly enjoying experience, they are OR Captivating – a light touch experience for audiences which tends to be aesthetic and reflective. And example is the one to one experience in the Whale at Tulipmania.

themselves, quite an audience. Audience –‘plesant’ probably with others. ■■ People visibly absorbed ■■ Beautiful or attention grabbing in some way

Captivating ■■ People’s attention is held ■■ Tried and tested approaches

■■ Relatively short experience ■■ People tend to be alone or in small groups 1. Wellbeing generating 1. Wellbeing ■■ People want to do it again ■■ Style is reflective rather than energetic OR Engrossing – a deep experience for participants which allows them to experience ‘flow’. An example is the participants in the dance project at Elsoms. People’s attention is ■■ People visibly absorbed ■■ Exposure to something new held, they are visibly It’s a long experience, Engrossing ■■ People are active (either physically or mentally) ■■ People are stimulated absorbed, they might they are a participant. and in some way involved be alone. ■■ People are inspired and take up opportunities to do ■■ Longer experience it again Participant – ‘meaningful’ – ‘meaningful’ Participant

■■ People want to do it again AND Locally resonant – an experience which is particularly rooted in the cultures, place and heritage of people who live or work here. It is site specific. An example is the Long Sutton installations.

■■ The work has to happen here or with these people, ■■ Exposure to something new It only makes sense if however brief or in-depth ■■ People discuss with others it’s held here or with L2 Either ■■ This is about cultural, not just social or artistic these people. ■■ People are visibly connected to their place or

2. Locally resonant focus community Locally resonance L1 ■■ The work had ‘meaning’ score. It could be held somewhere else and L0 be just as good.

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References Culture Counts (formerly Quality Metrics) Self, peer, public WolfBrown for LARC Dimension Metric Statement ■■ Captivation: Rigour ‘It was well thought through and put together’ The extent of which the audience member was absorbed in the performance or exhibition. Captivation is the lynchpin of impact – if you are captivated, other impacts are likely to happen, whereas if you are not captivated (or, worse, if you sleep through a Distinctiveness ‘It was different from things I’ve experienced before’ concert), other impacts are less likely to happen. Captivation ‘It was absorbing and held my attention’ Example: Did you lose track of time and forget about everything else during the performance? Relevance ‘It has something to say about the world in which we live’ ■■ Intellectual Stimulation: Meaning ‘It meant something to me personally’ The degree to which the performance or exhibition triggered thoughts about the art, issues or topics, or caused critical reflection. Challenge ‘It was thought provoking’ Example: Afterwards, did you discuss the performance with others who attended? Enthusiasm ‘I would come to something like this again’ ■■ Emotional Resonance: Presentation ‘It was well produced and presented’ The extent to which the audience member experienced a heightened emotional state during or after the performance or exhibition. Local impact ‘It is important that it’s happening here’

Example: What was your emotional response to the performance? Self and peer only

■■ Spiritual Value: Dimension Metric Statement Being inspired, transported to another plane of existence for a period of time, or leaving the performance or exhibition with a Concept ‘It was an interesting idea / programme’ feeling of renewal or empowerment. Originality ‘It was ground-breaking’ Example: Did the performance have spiritual meaning for you? Risk ‘The artists / curators really challenged themselves with this work’ ■■ Aesthetic Growth: Excellence (global) ‘It is amongst the best of its type in the world’ The extent to which the audience member was exposed to a new style or type of art, a new artist, or becomes a better appreciator of art. Excellence (national) ‘It is amongst the best of its type in the UK’ Example: Did this performance expose you to a style or type of theatre with which you were unfamiliar?

■■ Social Bonding:

Connectedness with the rest of the audience, new insight on one’s own culture or a culture outside of one’s life experience, or new perspective on human relationships or social issues.

Example: Did you feel a sense of connectedness with the rest of the audience?

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behaviour by being personally involved. He is clearly open to the benefits of the arts, and is becoming more committed SROI reports through ongoing involvement. A further outcome, of:

7. local people in leadership roles knowing the value of the arts was achieved through Roger’s leadership.

Elsoms SROI Two further outcomes common to Transported projects were not achieved, but could be in a new forecast model. Artists were not expected to develop their practice as this was largely a teaching role, and families were not involved so there was no benefit to them. What happened and the difference it made There were two further outcomes that were unexpected: The photography project was part of an ongoing partnership between Transported and Elsoms. Two artists were commissioned to train staff in photography skills at Elsoms, a long established family owned seed company in Spalding Lincolnshire. It began with 8. The role of the Events Team Assistant (ETA) is an important intermediary between the artists and the community, as such they consultation, delivered 17 workshops from pinhole cameras to digital, and focused on a final exhibition of work. The artwork was become cultural advocates in the community. then placed around the workplace in 2016. 9. Whilst it is not a motivation for this company, it is worth noting that empathy and resulting trust can affect a company’s The investment was £28.5K from Transported, with a further £1.5K from Elsoms. The project was free to staff and participants productivity with a knock-on effect in the local economy too, and we explore that in our Impact Model. and there was no need to travel, only commit their time. The artists chose to contribute beyond their contract at around £1.25K of in-kind work. Transported’s impact The Elsoms chairman, Roger Keeling, was the main champion for the project and his hope was that it would increase empathy in the There are two adjustments we make to the results; we adjust downwards for what may be due to other factors, and adjust 1 workforce. Transported used its ‘quality intentions ’ to deliver something that celebrated the people, place and heritage, in under-used upwards for longer term affects. everyday spaces; around the site and in the work canteen. It is an important feature for Transported to ‘make the everyday exceptional’. We account for what would have happened anyway, the risk that the project replaced other activity and any element of Out of a workforce of fifty-five, 12 people participated in the workshops, and 19 came to the launch. The main limitation was partnership or overlapping provision that could have had the same effect2. This reduces by a little under half the effects for the pressure on people’s busy lives. All staff will see the work distributed around the site. There were three expected outcomes for workforce (for example some were already arts attenders). As far as the business is concerned, together with the other two participants, and a further two for the wider workforce. Transported projects this is genuinely new and influential activity.

The wider workforce is the audience for this work. Their outcomes were: We then value the outcomes detailed in the infographic below using two main methodologies,

1. Feeling less uncomfortable with the activity (+27%) which, coupled with almost 9 out of 10 saying they would engage further ■■ National research into Subjective Wellbeing Valuation – this equates the increase in a person’s wellbeing from an activity, with with the arts, gives a good indication of an increased demand for the arts. the increase in income they would need to generate the same wellbeing improvement. We use values that have been robustly And of particular interest to the company was their: researched to quantify both the wellbeing participants would get from being involved in the arts, and the wellbeing they would feel from better communal relationships. 2. increase in understanding of other’s roles (+18%) which, coupled with fewer people feeling dissatisfied with life (also +18%), 3 gives a good indication of a building sense of empathy and communal spirit in the workplace. ■■ ‘Willingness to pay’ type evidence, including proxy values - what people might pay locally for a photography course, what the chairman might spend on a Christmas meal to ‘give something back’ and what might be spent on training leaders to value and be However it’s important to note that there was also a slight increase (+5%) in BOTH feeling comfortable at work, AND feeling able to commission services of this kind. uncomfortable at work. Coupled with observations, it appears that the project is affecting empathy, but a small and unexpected outcome was the risk of cliques developing. ■■ We estimate further value to the local economy using research into productivity and marketing by word-of-mouth.

Before and after self-assessment with participants from the workforce (12 respondents) saw positive change across three In total the value of the investment is £31.25K. The value of the return, as experienced by the members of the workforce in the outcomes. Participants: main but with some benefit to the local economy, is £11K. This is a return of 0.4 to 1 and less than break-even. The reason for this is in the main the high costs and low numbers participating. 3. increased their artistic skills (+11%), specifically photography skills that they could use in their everyday lives; The overwhelming bulk of the value comes from increasing empathy, which makes up over two thirds of the value. 4. increased their feeling of belonging and communal spirit (+14%), linked to developing empathy with colleagues;

5. increased their own ‘everyday wellbeing’ a sense of being happy in the moment (+22%).

It was also anticipated there would be wider benefit by Elsoms being a:

6. business that ‘gives something back’ to the workforce. The staff appreciated the Chairman role modelling constructive

1 Transported has a ‘Story of Change’ which is the chain of events expected to make a difference to people in the area. Part of this is an intent to delivery quality in the arts and the participation. Within this quality intent are two elements; ‘delivery intent’; building on local need for example, 2 Deadweight, displacement and attribution and ‘creative intent’; such as making this project engrossing and locally resonant. 3 Used where there is no obvious ‘market’ value 126 127 Transported Evaluation Report - June 2016

What if and what next? The following scenarios would allow the project to at least break-even:

■■ Reduce overheads - Overheads are very high at £21K and Transported would need to bring them down to £1K for this project to Transported Evaluation Report - June 2016 have broken-even, for example by ensuring Elsoms is able to commission itself.

■■ Increase participation - For the same budget (though some more work), the whole workforce could have participated, and the Where does the value lie in the Elsoms project? project exceeded break-even. In the future hosting the project on a trading estate could increase take up and make it easier to attract families or an audience too. Calculation: No. stakeholders x Adjusted change x Value per outcome = Total value ■■ Recognise business value – We could extend the scope to look at business value. Research shows that empathy and trust can

Family Spending � Increase demand for l l l l l l l l l l l l increase productivity, with a measurable affect on profit. Coupled with a multiplier effect in the local economy, we could unearth l l l l l l l l l l l l 31 12% Survey 2011 134 497 497 the arts l l l l l l l adjusted for inflation value with no change to investment or results. Even assuming extra costs the project could still break-even. l l l l l l l l l l l l � Empathy in the SWB valuation by l l l l l l l l l l l l 25 5% 2,885 3,704 3,704 workplace l Fujiwara for HACT

SWB valuation by � l l 2 5% - 2,885 -295 - 295 Recommendations from the Elsoms experience Risk of division Fujiwara for HACT Photography was an accessible choice for Elsoms first significant participatory project because it teaches everyday skills and � Artistic skills for l l l l l l l l l l Cost of local 13 7% 95 130 130 everyday lives l l l photography course participants were able to create beautiful work. It allowed them to ‘see with new eyes’ both their colleagues and workplace and

� l l l l l l l l l l SWB valuation by others could benefit from the artwork around the site.   Empathy in the 13 10% 2,885 3,839 3,839 workplace l l l Fujiwara for HACT

l l l l l l l l l l SWB valuation by Building now on three projects, the Transported Elsoms partnership should continue to break down barriers to the arts, with a � 13 14% 1,084 1,984 1,984 Everyday wellbeing l l l Fujiwara for ACE range of work placed in everyday space. For Transported, results could be helped by better consultation and publicity. For Elsoms,

� Elsoms spend on allowing participation on company time and targeting less positive staff could improve take up and results with costs offset by Businesses 'give 1 34% 825 351 351 something back'  X ma s me a l Cost of ensuring productivity benefits. c ommissioning for � Local people in 1 34% 575 196 196 outcomes training leadership and advocacy € with NEF roles know the value of Marketing the arts 1 34% improvement value 454 326 326 € per ETA per projec t

Notes

Outcomes colour coded by who Levels of participation Adjusted change show the % The proxy values are for an The total value for each outcome helps us see Art and Business. Assault © Gary Naylor Photography experiences the value: include one leader and ETA, change experienced by the imagined 100% change. They where most value lies. It is a combination of 13 participants and 25/31 stakeholder taking account come from both what we know the number of people experiencing change, the Workforce (depending on outcome) from of what else might have had people would be prepared to amount of change and the value of the change. Participants the wider workforce. There is an effect. For example, the pay and national research into For example ‘increased demand for the arts’ is 31 Local economy one business affected. business has been involved in Subjective Well- being Valuation. participants x 12% change x 134 of value = 497. three projects which makes the results one third. These values also include knock on impacts a year after the project.

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Spalding SROI

What happened and the difference it made Transported Evaluation Report - June 2016 The project is part of Transported’s On Your Doorstep programme. Joseph Hillier, an artist, was commissioned to produce sculptures for the town centre that would celebrate the town’s market history. Joseph undertook research and development with Chain of events for the Elsoms project many groups within the community, he delivered ‘scanning workshops’ and a launch event was held. The final 14 sculptures were fixed in their locations throughout the town centre in Spring 2016.

The investment was £47.6 from Transported. The project was free to participants and new audiences and there was limited travel

How? What? Why? involved for those who lived outside of the town, so a small investment from them.

Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes John Charlesworth of Spalding Civic Society, was the main champion for the project and completing the project was a realisation of a personal goal of his for many years. Transported used its ‘quality intentions4’ to deliver something that celebrated the people, place and heritage, in under-used everyday spaces: the hidden corners of the town centre. It is an important feature of

Inspiration Transported to ‘make the everyday exceptional’. Increase See previous Demand demand for arts Community From the local area, 94 people had personal contact with Joseph during the research and development stage, 44 people were performance Celebration scanned, and 60 came to the launch event. There were five expected outcomes for participants, and a further two for the wider Consultation & audience. Empathy in Leaders know competition New conversations See with new eyes workplace value The wider audience is the community in Spalding, although we also found people came from further afield. It is anticipated that Partnerships Excellence their outcomes will be: ‘Brighten the Everyday Material culture Knock on effect Economy See artists place up’ wellbeing 1. An increased demand for the arts for those who actively use the trails own work Management 2. Sense of people, place and heritage Skills for Business gives Watch then join Work on a hobby Individual pride everyday life back Before and after self-assessment with scanned participants (20 respondents) showed positive change across three outcomes. in w/s Participants: Everyday Infrastructure Skills and 3. increased their artistic awareness (+24%), specifically confidence working with an artist and learning about a new art Art in the Supply understanding Take up other arts Valued outcomes everyday process; Participants 4. increased their feeling of a sense of community (+15%), linked to sharing stories and developing more knowledge of the Workforce audience history of Spalding;

Local economy Busy lives Didn’t see the value Risk of division 5. increased their own ‘everyday wellbeing’ a sense of being happy in the moment (+16%). Challenges The local average for everyday wellbeing and happiness is 7.5. In Spalding, the participants started at 7.9 which is already above the average. Their scores increased to 9.2 which is remarkable, and demonstrates the impact of their immediate experience.

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4 Transported has a ‘Story of Change’ which is the chain of events expected to make a difference to people in the area. Part of this is an intent to delivery quality in the arts and the participation. Within this quality intent are two elements; ‘delivery intent’; building on local need for example, and ‘creative intent’; such as making this project engrossing and locally resonant.

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It was also anticipated there would be wider benefit within Spalding:

6. Organisations becoming more embedded in the community. Though it’s early days, the pride of the businesses which are hosting a sculpture and the camaraderie of being part of a small group seems likely to help these businesses embed more as a valued community asset.

7. Local people in leadership roles knowing the value of the arts was achieved through the participation of Spalding Civic Society and by local leaders participating in the scanning workshops.

For Joseph Hillier, the artist, there was one outcome that he highlighted:

8. The development of his arts practice as a result of working on the project. He worked very openly with the participants and encouraged them to take ownership of the process.

One further outcome common to Transported projects was not achieved: Families were not specifically involved so there was no benefit to them. However, it was observed that there was cross-generational activity taking place as part of the work commissioned. This created a change of perception between the generations and could help create strong ties across families.

There was another further outcome that was unexpected:

9. The role of the Events Team Assistant (ETA) is an important intermediary between the artists and the community, as such they become cultural advocates in the community.

What stands out the most for this project is the natural ability of Joseph Hillier to engage with those he spoke to, to build rapport and to represent the local history in a sensitive yet exceptional way.

On Your Doorstep. Joseph Hillier © Electric Egg Ltd. Transported’s impact There are two adjustments we make to the results; we adjust downwards for what may be due to other factors, and adjust upwards for longer term affects.

We account for what would have happened anyway, the risk that the project replaced other activity and any element of We then value the outcomes detailed in the infographic below using two main methodologies, partnership or overlapping provision that could have had the same effect5. This reduces considerably what we can ‘claim’ for participants, because they are already a relatively engaged and happy group, and similarly for audiences because there will ■■ National research into Subjective Wellbeing Valuation – this equates the increase in a person’s wellbeing from an activity, with be many other influences brought to bear. As far as the wider benefit to Spalding businesses and leaders goes, we can be less the increase in income they would need to generate the same wellbeing improvement. We use values that have been robustly cautious about our claims as this was a genuinely new and influential activity for them. researched to quantify both the wellbeing participants would get from being involved in the arts, and the wellbeing they would feel from better communal relationships.

■■ ‘Willingness to pay’ type evidence, including proxy values6 - what people might pay locally for an art appreciation course, what businesses might pay to advertise and what might be spent on CPD for the artist.

■■ We estimate further value to the local economy using research into marketing by word-of-mouth.

In total the value of the investment is £47.6K. The value of the return, as experienced by the participants and new audience in the main, is £132K. This is a return of 2.8 to 1. The two areas that stand out are the sense of people, place and heritage for residents, and communal spirit for participants.

5 Deadweight, displacement and attribution 6 Used where there is no obvious ‘market’ value

132 133 Transported Evaluation Report - June 2016

What if and what next?

■■ The following scenarios would allow the project to increase its return on investment:

■■ Reduce overheads - Overheads are high at £21K and Transported would need to reduce these to be in line with the industry Transported Evaluation Report - June 2016 norm and to see an increase in the return.

■■ Increase number of research and development individuals – This could be achieved, for example, by working with more Where does the value lie in the Spalding project? voluntary groups.

■■ Engage with people whose wellbeing and happiness is below the local average. Calculation: No. stakeholders x Adjusted change x Value per outcome = Total value ■■ At an industry norm overhead of 20%, the return would increase to 4.2. � Increase demand for the Family spending 370 950 0.29% 134 arts survey ■■ Increasing the number of those participants who were involved with the research and development activities could see an � Sense of people, place and SWB valuation by 58,326 15450 0.29% 3,919 heritage Fujiwara for HACT increase in return to 3.2. llllllllllllllllllllllllllllllllllllllllllllllll Cost of art 433 � Artistic awareness llllllllllllllllllllllllllllllllllllllllllllllll 138 6% 54 llllllllllllllllllllllllllllllllllllllllll apprec iation c ourse ■■ Engaging with people who are below the local average for wellbeing and happiness could see a significant increase in value to 4.7. �� Communal spirit - c ross llllllllllllllllllllllllllllllllllllllllllllllll SWB valuation by llllllllllllllllllllllllllllllllllllllllllllllll 140 4% 3,919 67,378 This can be seen elsewhere in Transported projects. Doing this alongside a reduction of overheads could see a return of 7.0. generational llllllllllllllllllllllllllllllllllllllllllll Fujiwara for HACT �� Communal spirit - c ross SWB valuation by l l l -3 4% 3,919 -427 We test two other assumptions in sensitivity analysis. generational Fujiwara for HACT

llllllllllllllllllllllllllllllllllllllllllllllll SWB valuation by � Everyday wellbeing llllllllllllllllllllllllllllllllllllllllllllllll 143 4% 1,084 6,002 ■■ Reducing the projection of the project from five years to one year would decrease the return marginally to 1.8. lllllllllllllllllllllllllllllllllllllllllllllll Fujiwara for DCMS SWB valuation by � Everyday wellbeing l l l -3 4% 1,084 -126 Fujiwara for DCMS ■■ If the project did not reach any of the wider audience, the return would still be 1.5. This demonstrates that even if only the � Organisations more Cost of 5 years local participants have experienced a change, the project still exceeds breaking even. 21 8% 600 3,494 embedded in the community  advertising

� Develop quality arts Cost of day training/ 1 23% 300 prac tic e with c ommunities € CPD 68 Cost of art Recommendations from the Spalding experience � 8 13% 54 Loc al people in leadership €€€€€€€€ apprec iation c ourse 120 and advocacy roles know the The value for this project, that is not seen in others, is that there are a lot of people involved. There were many opportunities for Value of WOM value of quality arts 1 50% 227 € promotion/champion 240 people to interact with Joseph during the research and development phase, which allowed the gradual build up of the impact. This approach provides many opportunities to generate and enhance value.

Notes The challenge of working with communities can be the lack of infrastructure which can hinder reach to a wide range of people and Outcomes colour coded by Levels of participation Adjusted change show the % change The proxy values are for The total value for each outcome helps us see where the gathering of evaluation evidence. By focusing on engaging with the schools, this would support reaching new and different who experiences the value: include eight leaders and experienced by the stakeholder taking an imagined 100% change. most value lies. It is a combination of the number of communities, and in turn, fully utilise the ‘ripple effect’. Engaging with the schools would also strengthen the case for arts and one ETA, 143 participants account of what else might have had They come from both what people experiencing change, the amount of change provide more structure for evidence to be gathered and an ongoing infrastructure to develop. New audience and 950/15,450 (depending an effect. For example, participants we know people would be and the value of the change. For example ‘increased Participants Transported could also target an increased level of engagement with those who are below the local average for wellbeing and on outcome) new audience. were already quite involved in the prepared to pay and national demand for the arts’ is 950 new audience x 0.29% Artists happiness and therefore an increase in the return. arts, (including other Transported research into Subjective change x 134 of value = 370. Because the effects will Local economy events) so this reduces quite a lot Well- being Valuation. be long-lasting, these values also include knock on what this project can ‘claim’. impacts for up to five years beyond the project.

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135 Transported Evaluation Report - June 2016

Open Book – A Small Library SROI

What happened and the difference it made Transported Evaluation Report - June 2016 The Open Book strand commissioned The Eloquent Fold (artists Carole Miles and Phiona Richards) to host book/print making workshops at Boston, Long Sutton and Spalding libraries for one morning or afternoon over the course of four weeks per library.

Chain of events for the Spalding project Participants were encouraged to book their place in advance of the workshop. The workshops enabled participants to use printmaking, drawing, photography, calligraphy, stitching, personal memorabilia, collage, and paper engineering to make their ‘Big Ideas’ books. Each person designed and created one book to keep as well as one book to fill and leave with the Small Library of

How? What? Why? Big Ideas.

Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes The investment was £22.5k from Transported, with a further £3.5k from the Local Authority Library Service, in-kind. The project was free to staff and participants. Some participants walked to the workshops, whilst others came from further afield and arrived by car or used public transport. The average cost of travel for participants was just under £3. In addition, participants committed their time and sometimes gave a small donation to Transported too. The artists chose to contribute more than their contract at around £1.5k of in-kind work. Inspiration Demand Increase demand Community Celebration for arts The overarching purpose of the Arts Councils Investment in Transported is to create new audiences for the arts, from places of R & D least engagement. This phase of the Open Book programme aimed to focus on creating sustainability for the arts within libraries Nationally Sense of people, Sense of Hosts embed in and for the people living in and around Boston Borough and South Holland, Lincolnshire. recognised place & heritage community community Partnerships It is also an important feature for Transported to ‘make the everyday exceptional’ and Transported also used this and other ‘quality intentions7’ to deliver something that celebrated the people, place and heritage in everyday spaces, in this instance, local static Excellence Hidden corners Material culture Individual price Wellbeing Knock on effects Economy libraries.

Management Ron Frayne, Area Manager Libraries East, was a champion of the project. Transported worked alongside Ron to find new and unique Artist’s Celebrate people, Everyday Leaders know ways to diversify their service. Ron moved job positions mid-way through the project and Nicola Rogers came into the post. approach Local resonant place & place wellbeing value Between 4-9 participants were present at each workshop including children, young people and adults. There were 40 unique Infrastructure Valued outcomes participants over the three weeks of delivery when evaluation postcards were completed. Fifteen of these participants were Everyday Supply Arts practice Participants return attenders some of whom were living in disadvantaged or challenging contexts; including one woman living with ME, a man

New community audience who was unemployed, a family who were moving between homes and another man who was homeless.

Artists Managing expectations There were two outcomes for the audience, and seven for participants.

Reaching range Local economy Planning permission Challenging new art Busy communities Library users who read or borrowed the books made by participants, are the audience for this work. of people Challenges 1. Participants of the project created books either about themselves, an area of interest to them, or to promote a local group. This led to an increase in new, locally focused material culture. This material culture (the books), was placed on display at each library for 3 months after the project ended, and was available to borrow. In some instances, library staff provided interpretation, explaining what the display contained and information about the project.

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7 Transported has a ‘Story of Change’ which is the chain of events expected to make a difference to people in the area. Part of this is an intent to delivery quality in the arts and the participation. Within this quality intent are two elements; ‘delivery intent’; building on local need for example, and ‘creative intent’; such as making this project engrossing and locally resonant.

137 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

2. Whilst there was no evidence of the impact of this new material culture to the audience members (library users), there 7. Diversification of libraries would not be possible without local people in leadership roles knowing the value of the arts, was evidence to demonstrate that some books were issued and that the displays were viewed. In the future, more active demonstrated through the commitment of library leaders, Ron Frayne and Nicola Rogers. This was evident in their investment promotion of the book displays, combined with more focused participation or engagement activity (connecting the local of staff time, library space, and library resources. In addition, the library service and Transported commissioned a new community with the books created by participants), could increase demand for the library service to existing and new library project Taking pArt, for people with mental health issues, in part as a result of the success of A Small Library of Big Ideas and users. In addition, consideration about how this engagement could be quantified would provide greater insight about the with funding from the Mental Health Promotion Fund. impact of this type of book display. Transported staff (Event Team Assistants) and Artists experienced both expected and unexpected outcomes: Participants who attended the workshops across the three libraries are the participants of this work. Before and after self- assessment with participants as well as observations by Transported staff, saw notable positive changes across three expected 8. Both artists reported an increase in their everyday wellbeing as a result of the relationships they developed with project participants. outcomes: They also reported a development of their artistic practice as a direct result of working together to deliver this project. 9. The role of the Events Team Assistant is an important intermediary between the artists and the community, as such they 3. Despite (or perhaps because of) some individuals initially experiencing the workshop activity as ‘complicated’, participants became cultural advocates in the community too. The Event Team Assistant allocated to the project, Joan Rushton, reported reported an increase in artistic skills (+38%). This noteworthy outcome was achieved for a number of reasons; the starting point similar outcomes to those of participants; notably an increase in artistic skill (she created her own book), and increase in her of the participants; the duration of the workshops being spread over a period of four sessions, allowing participants to develop sense of belonging and communal pride and an increase in her everyday wellbeing. their skills over time; and the result of high quality, person centred pedagogical approach of artists, Phiona and Carole.

4. An increase in their sense of belonging and communal pride (+26%) is also substantial. This outcome is directly linked to participants being able to create new, locally focused material culture (the books) about themselves, something of interest Transported’s impact to them, or a local group. This was a deliberate delivery intention of Transported and the artists. The artists also took photos There are two adjustments we make to the results; we adjust downwards for what may be due to other factors, and adjust of every page of every book made, creating an online archive of the project. upwards for longer term effects.

5. An increase in their own ‘everyday wellbeing’ a sense of being happy in the moment (+27%). Participants were often observed We account for what would have happened anyway, the risk that the project replaced other activity and any element of being ‘engrossed’ in the activity, indicating a sense of ‘flow’. partnership or overlapping provision that could have had the same effect8. This reduces by a little under half the effects for the One unexpected outcome occurred for participants; reduced feelings of isolation. Both Transported staff and the artists observed participants (for example some were already arts attenders). As far as the library is concerned, together with other Transported participants talking about and feeling less isolated as a result of spending time with people. Behaviours and conversations within the projects this is a rare activity as it was delivered by professional artists and so it is genuinely new. workshops, noted during observations by Transported staff, also point towards this outcome. Reduced feelings of isolation contributed We then value the outcomes detailed in the infographic below using two main methodologies, towards participants experiencing two expected outcomes; a sense of belonging and communal pride and everyday wellbeing. ■■ National research into Subjective Wellbeing Valuation – this equates the increase in a person’s wellbeing from an activity, with One outcome that might have been expected was not evidenced. Whilst there a small number of families who attended the the increase in income they would need to generate the same wellbeing improvement. We use values that have been robustly workshops, we did not see evidence of an improvement in their family time which we do see elsewhere in Transported. The researched to quantify both the wellbeing participants would get from being involved in the l, and the wellbeing they would feel delivery intention of A Small Library of Big Ideas was directed towards adults and it was held in the daytime. As such it was not from better communal relationships. advertised as a family event. However we saw a big jump in attendance in the sister project on mobile libraries over the school holiday period which would be likely to occur here too, and this outcome could be developed in a new forecast. ■■ ‘Willingness to pay’ type evidence, including proxy values9 - what people might pay locally for a craft course, what the library service might spend on an exhibition or similar workshop and what might be spent on training leaders to value and be able to Of the families who did attend, they did report experiencing an increase in artistic skill, increased everyday wellbeing and an commission services of this kind. increased sense of belonging and communal pride. ■■ We estimate further value to library services and the local economy using research into current library practice and marketing by The library service and library staff are participant partners of A Small Library of Big Ideas. For these participants, two outcomes word-of-mouth. occurred: In total the value of the investment was £27.5K. The value of the return, as experienced by participants in the main but with some 6. The project enabled the Library Service to diversify further. As a result of participants of the Boston Library workshop benefit in the library and others, is just over £27K. This is a return of 1 to 1. experiencing an increase in artistic skill; three of them established a new Sketchbook group, supported by Boston Library staff and Transported. The group meets twice a month, and over 10 participants attend each session. Supporting the The overwhelming bulk of the value comes from the outcomes experienced by participants, which is even better for those who sustainability of the project was a deliberate delivery intention by Transported and the artists. We have also created a set up their own craft group because their outcomes are likely to last longer. Whilst they increased their wellbeing and sense of forecast model showing the potential for additional impact here, had a more in-depth level of strategic work taken place to belonging in equal measure, the national research shows the value of belonging to be about twice that of everyday wellbeing. maximise the potential for library diversification. Where does the value lie in A Small Library?

8 Deadweight, displacement and attribution 9 Used where there is no obvious ‘market’ value

138 139 Transported Evaluation Report - June 2016

What if and what next? The following scenarios would allow the project to increase return on investment:

■■ Reducing overheads – overheads are high at £11.5k. Reducing overheads to 20% (a percentage often used in the arts and cultural Transported Evaluation Report - June 2016 sector), would double the return, to 1 to 2.1. With the return on investment identified in a US study as over 1 to 41, we think this is a cautious estimate.

Calculation: No. stakeholders x Adjusted change x Value per outcome = Total value ■■ New audiences could be engaged as a result of delivering activities linked to books left on display in the libraries after the project. With current library attendance trending down, this could be very valuable. Over 70,000 people use the libraries over three

� Value of display now; promotion c ould inc rease Cost of new display months. If only a small percentage of those experience some of the wellbeing that participants do centred on the library, this  New, locally focused 1 1,000 1,000 1,000 - material culture  de ma nd (diff S/H to below) could readily increase the value by half (£12K) and the return to 1 to 1.4. � Demand could be increased in future forecast Potential future value Increase demand for the 1,423 1,359 - - - library service mo de l in forecast model l l l l l l l l l l There is a knock-on organisational impact associated with an effective project with Transported on both the library workforce and � Cost of local craft Artistic skills and l l l l l l l l l l 30 18% 45 441 441 - awareness l l l l l l l l l l c ourse leadership and Transported is in a great position to create further value in T2. A recent DCMS report highlighted a very significant role l l l l l l l l l l � SWB Valuation by Sense of belonging and l l l l l l l l l l 30 12% 2,885 14,078 14,078 - for libraries to ‘underpin communities’ and recommended enhancing leadership as well as new economies of scale from a national communal pride l l l l l l l l l l Fujiwara for HACT l l l l l l l l l l strategy. The report describes the importance of the non-judgemental, flexible space, particularly to those who are vulnerable and SWB valuation by � l l l l l l l l l l 30 13% 1,359 6,888 6,888 - Everyday wellbeing Fujiwara for DCMS l l l l l l l l l l on literacy and digital access2 (whilst attendance across England is over a third of the population, it rises to nearly half in the poorest � Additional value to those As above but with l l l l l l l l l l 10 As above but with longer life 2,661 2,661 areas). Protecting libraries for these users is important, and supporting the workforce to do so is effective and strategic. who set up group longer life � Library diversifies  1 85% Cost of a new display 1,000 850 850 -

� Develop quality arts Cost of a day 2 16% - - Recommendations practice with communities €€ training/ CPD � ETA's artistic skills and Cost of local craft 1 8% 45 7 7 Working with participants who had a lot to gain because their lives were challenging or they were isolated, created significant awareness € c ourse benefit in this project and the taking pART library project for people with mental health issues will take this forward and be tested � ETA's sense of SWB valuation by 1 5% 2,885 463 463 belonging, communal pride € Fujiwara for HACT with a further SROI. � ETA & artists' everyday SWB valuation by 3 5% 1,359 654 654 wellbeing €€€ Fujiwara for DCMS The person-centred approach and engrossing and challenging activity culminating in a thing of beauty, both celebrated the people Value of WOM � 1 20% 227 36 36 Local leaders and € promotion/champion involved and created a sense of pride and achievement. This was especially strengthened by making one book that they could take community advocates Cost of senior away and another to be shared in their community. Both this and reduced isolation made for happier participants. Wellbeing in know the value of the arts 1 13% 550 70 70 1 € leadership c ourse turn can lead to other better life chances. Where participants went on to set up their own new craft group the outcomes can last much longer, and supporting them to maintain this could create significant benefit. Notes Being explicit about the organisational benefits to libraries of this kind of diversification is likely to be very beneficial, both to the Outcomes colour coded by Levels of participation include two Adjusted change shows the The proxy values are for The total value for each outcome helps us see where library service and in terms of community use, and understanding that more deeply is an important next step. who experiences the value: leaders (one experienced the outcome) % change experienced by the an imagined 100% change. most value lies. It is a combination of the number of and one ETA and 40 participants with 10 stakeholder taking account They come from both what people, the amount of change and the value of the Audiences in the new group having additional value. of what else might have had we know people would change. In this project we separate the outcomes Participants There is one library service affected an effect. For example, the be prepared to pay and for the new group that was set up (though their Transported staff and and the potential for large numbers use of professional artists national research into outcomes are the same as other participants) artists Local economy to increase their demand for library makes this a genuinely new Subjective Well- being because the impact will last longer with higher value. services which is not yet realised. experience for libraries. Valuation.

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141 Transported Evaluation Report - June 2016

Open Book – Faceless Arts SROI

What happened and the difference it made Transported Evaluation Report - June 2016 Transported commissioned Faceless Arts to deliver a high quality, innovative and engaging arts project to tour the mobile libraries in these areas as part of the Open Book strand. The project purpose was to make sure that even the smaller, rurally isolated Chain of events for A Small Library communities had access to the arts. It both fulfilled Transported’s objectives, and showcased the libraries as locations for arts activities and key venues for the community.

Participants were encouraged to take part in silk painting while visiting the mobile library to borrow or return books. The

How? What? Why? workshop enabled participants to use silk painting techniques to create bookmarks or banners to represent one of the 14 places the mobile library stopped on its route. Each person could return the following session to pick up their book mark and to continue Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes to develop their skills by adding to the banner.

Sense of belonging The investment was £25.25k from Transported, with a further £3.25k from the Local Authority Library Service in-kind. The project Person and communal pride Inspiration centred was free to staff and participants. Some participants walked to the workshops, whilst others came from further afield and arrived by car. The average cost of travel for participants was under £3. In addition, participants committed their time. Meet local Demand Community Community needs Celebration The overarching purpose of the Arts Councils Investment in Transported is to create new audiences for the arts, from places of Person-centred least engagement. This phase aimed to focus on creating sustainability for the arts within libraries and in rural venues for the Leaders know Libraries pedagogy Spending time with Reduced people living in and around Boston Borough and South Holland, Lincolnshire. new people isolation value diversify Everyday Partnerships 10 Excellence wellbeing It is also an important feature of Transported to ‘make the everyday exceptional’. Transported also used its ‘quality intentions ’ to Deeper partnership New material deliver something that celebrated the people, place and heritage, in everyday spaces, in this instance, local mobile libraries. with library staff ‘on Material culture Knock on effect Economy Make things culture the ground’ relevant Wendy Gilham-Skinner (Team Leader, Library Service, Lincolnshire County Council), was a champion of the project. Transported Management Artistic skills and awareness worked alongside Wendy to find new and unique ways to diversify the library service. Public New craft investment Engrossing??? group Evaluation postcards showed there were 121 unique participants over the four months (totalling 60 sessions – one session per month in each of the locations). Participants included people who had never silk painted before, a small selection of families and Everyday Infrastructure Development of artistic practice lots of individuals who participated on their own. Art in everyday Supply Valued outcomes spaces The audience for this work is members of the community (and potential library users) who saw the silk painting banners made by Participants Skills and participants on display in four community settings after the project finished. understanding Local economy The outcomes were: Artists Activity seen as complicated by some to start with Challenges 1. Participants of the project created silk painting banners depicting areas of interest / buildings / landscape connected to the local area. This led to an increase in new, local focused material culture. This material culture (the silk banners), was placed ETAs on display for 5 months after the project ended.

2. There was no evidence of the impact of this new material culture to the audience members (local people), however in the future, more active promotion and interpretation of the silk banner displays, combined with focused engagement activity 142 (connecting the local community with the silk banners created by participants), could increase demand for the mobile library service to existing and new library users.

Participants who attended the workshops across the mobile library route are the participants of this work. Before and after self- assessment with participants as well as observations by Transported staff, saw positive change across three expected outcomes:

10 Transported has a ‘Story of Change’ which is the chain of events expected to make a difference to people in the area. Part of this is an intent to delivery quality in the arts and the participation. Within this quality intent are two elements; ‘delivery intent’; building on local need for example, and ‘creative intent’; such as making this project engrossing and locally resonant.

143 Transported Evaluation Report - June 2016 Transported Evaluation Report - June 2016

3. Participants reported an increase in artistic skills (+8%). Silk painting was chosen specifically as an accessible creative There were three further outcomes that were unexpected, experienced by Transported Event Team Assistants: activity that could be tried out by participants in as little as 30 minutes. Some participants also borrowed books from the mobile library about silk painting as a result of their participation in the activity. Whilst positive overall, this outcome may 9. The role of the Events Team Assistant is an important intermediary between the artists and the community, as such they have shown greater increase if participants were able to immerse themselves in the process of a longer period of time. became cultural advocates in the community too. The Event Team Assistant allocated to the project, Suu Wernham, reported similar outcomes to those of unique participants; notably an increase in artistic skill (she created her own silk paintings), 4. An increase in their sense of belonging and communal pride (+12%) was reported. Participants were encouraged to talk about and increase in her sense of belonging and communal pride (Suu had recently moved to the region herself and this project their community and their place in it whilst learning a new skill. This outcome is directly linked to participants being able supported her to meet people and find out more about the local area), and an increase in her everyday wellbeing. Notably, Suu to create new, locally focused material culture (the book marks and silk banners), connected to the local area. This was a has taken on silk painting as a hobby and has is also starting a new Higher Education course, which she feels has been made deliberate delivery intention of Transported and the artists. possible, in part, due to her experience of being an Event Team Assistant for Transported.

5. An increase in their own ‘everyday wellbeing’ a sense of being happy in the moment (+10%). Participants who were able to take part for a longer duration, for example when the mobile library was in a setting for 1-2 hours, reported enjoying the Transported’s impact activity and feeling happy and engrossed. Some negative responses or behaviours were noted when participants felt cold completing their book marks / banners outside under the gazebo, or when they felt rushed to complete the activity. There are two adjustments we make to the results; we adjust downwards for what may be due to other factors, and adjust upwards for longer term affects. One outcome that might have been expected was not evidenced. Whilst there a small number of families who attended the workshops, we did not see evidence of an improvement in their family leisure time. Whilst one month of delivery did take place We account for what would have happened anyway, the risk that the project replaced other activity and any element of 11 during the school holidays, and this period saw a big jump in attendance, the delivery intention of Faceless Arts was directed partnership or overlapping provision that could have had the same effect . This reduces by a little under half the effects for the towards adults, and as such it was not advertised as a family event. This outcome could be developed in a new forecast. participants (for example some were already arts attenders). As far as the library is concerned, together with other Transported projects this is genuinely rare activity for the mobile library service. Of the families who did attend, they did report experiencing an increase in artistic skill, increased everyday wellbeing and an increased sense of belonging and communal pride. We then value the outcomes detailed in the infographic below using two main methodologies,

The library service and library staff are participant partners of the Faceless Arts project. ■■ National research into Subjective Wellbeing Valuation – this equates the increase in a person’s wellbeing from an activity, with the increase in income they would need to generate the same wellbeing improvement. We use values that have been robustly 6. The mobile library staff took an active part in the project, were supportive of the artists and the creative activity and also researched to quantify both the wellbeing participants would get from being involved in the arts or library, and the wellbeing they attended the evaluation focus group. As such they experienced similar outcomes to the participants, including an increase in would feel from better communal relationships. artistic skill, a sense of belonging and communal pride, and everyday wellbeing. ■■ ‘Willingness to pay’ type evidence, including proxy values12 - what people might pay locally for a craft course, what the library 7. The project would not have been possible without local people in leadership roles knowing the value of the arts, service might spend on an exhibition / similar workshop and what might be spent on training leaders to value and be able to demonstrated through the commitment of Wendy Gilham-Skinner. This was evident in her investment of staff time, library commission services of this kind. space, library resources and her involvement in the evaluation process. Wendy was also able to articulate the value of local people being supported to engage in the arts; ‘Interacting with the arts gives a different dimension to life which brings ■■ We estimate further value to library services and the local economy using research into current library practice and marketing by happiness and a new way of looking at life’. word-of-mouth.

8. Artists reported developing quality arts practice with communities as a result of the project. The uniqueness of the project In total the value of the investment is £28.5K and the value of the return is £30.25K. This is a return of 1 to 1.1, just over break-even. encouraged Faceless Arts to consider a new art form (silk painting) combined with innovative ways in which they could The majority of this value, around two thirds, comes from the sense of belonging participants experienced. It is both their best engage with participants in a very short period of time, whilst still enabling them to create new material culture. Faceless result and the highest value. Arts also needed to consider the use of space (a small mobile library), to ensure participants could fully engage in the In addition, whilst the concept of the project is an innovative one, participant outcomes may have been higher if they had more opportunity. Notably, the artist’s person centred pedagogical approach impacted positively upon the participants, enabling time to engage in the creative activity (over a longer duration), or if there had been greater consideration as to the sustainability them to experience the positive differences described above. of the activity (establishing a spin off craft group), beyond the funding for the project.

11 Deadweight, displacement and attribution 12 Used where there is no obvious ‘market’ value

144 145 Transported Evaluation Report - June 2016

What if and what next? The following scenarios would allow the project to report a higher return on investment:

■■ Reducing overheads – overheads are very high at £11.5k. Reducing overheads to 20% (a percentage often used in the arts and Transported Evaluation Report - June 2016 cultural sector), would see a 1 to 1.7 return on investment and could be achieved once Transported has moved beyond its action research phase to a more normal delivery model.

Where does the value lie in the Faceless Arts project? ■■ Increase outcomes – by delivering the activity only at sites where the mobile library stops for 1-2 hours, and by increasing the duration of the project (from four months to one year), there is potential for an increase in the outcomes. There is little scope to Calculation: No. stakeholders x Adjusted change x Value per outcome = Total value increase participant numbers as the space is so restricted. This could double the value. Calculating the increased cost is beyond the scope of this work, but if it were offset by lower overheads, this could increase the return too. � New, loc ally foc used Value of display now; promotion Cost of new display (diff 1 1,000 1,000 1,000 material c ulture  could increase demand S/H to below) ■■ New audiences could be engaged as a result of delivering participatory activities linked to the banner displays in the community llllllllllllllllllllllllllllll � Increased demand for llllllllllllllllllllllllllllll Demand could be increased in Potential future value in 118 - - settings. Such activities could be delivered as a consultation process (before a project begins to promote the activity), or as llllllllllllllllllllllllllllll future forecast model libraries llllllllllllllllllllllllllll forecast model llllllllllllllllllllllllllllll a celebratory experience (after the project has ended). Over 2,000 people are estimated will see the banners so if just a small llllllllllllllllllllllllllllll Cost of local craft � Artistic skills and awareness llllllllllllllllllllllllllllll 122 4% 45 204 204 llllllllllllllllllllllllllllll c ourse percentage start to visit the library this could be significant. llllllllllllllllllllllllllllllll �  Sense of belonging and llllllllllllllllllllllllllllll SWB valuation by llllllllllllllllllllllllllllll 121 6% 2,885 19,656 19,656 c o mmuna l pride llllllllllllllllllllllllllllll Fujiwara for HACT There is a knock-on organisational impact associated with an effective project with Transported on both the library workforce and lllllllllllllllllllllllllllllll llllllllllllllllllllllllllllll SWB valuation by � Everyday wellbeing llllllllllllllllllllllllllllll 122 5% 1,359 7,717 7,717 leadership and Transported is in a great position to create further value in T2. A recent DCMS report highlighted a very significant llllllllllllllllllllllllllllll Fujiwara for DCMS ll role for libraries to ‘underpin communities’ and recommended enhancing leadership as well as new economies of scale from Cost of new display (diff � Library servic e diversifies 1 90% 1,000 900 900 g S/H to above) a national strategy. The report describes the importance of the non-judgemental, flexible space, particularly to those who are 3 � Develop quality arts Cost of day training/ vulnerable and on literacy and digital access (whilst attendance across England is over a third of the population, it rises to nearly 2 24% 300 144 144 prac tic e with c ommunities €€ DPD half in the poorest areas). Protecting libraries for these users is important, and supporting the workforce to do so is effective and � ETA's artistic skills and Cost of local craft 1 2% as above 2 2 strategic. awareness € c ourse �  ETA's sense of belonging, SWB valuation by 1 2% as above 146 146 c o mmuna l pride € Fujiwara for HACT SWB valuation by � ETA's everyday wellbeing 1 2% as above 57 57 Recommendations € Fujiwara for DCMS Value of WOM The person-centred approach and engrossing activity, both celebrated the people involved and created a sense of pride and 1 20% 454 192 192 � Local leaders and € promotion/champion community advocates know achievement. However the mobile libraries are a challenging place to work, open to the weather and limited in time and space, Cost of senior the value of the arts 1 45% 550 248 248 and they offer little opportunity for growth. Instead more value could be generated by engaging people with more challenging € leadership c ourse lives, or taking longer over the projects for a greater change, or supporting people to establish their own craft group.

Notes Being explicit about the organisational benefits to libraries of this kind of diversification is likely to be very beneficial, both to the library service and in terms of community use, and understanding that more deeply is an important next step. Outcomes colour coded by who Levels of participation include Adjusted change shows the The proxy values are for an The total value for each outcome experiences the value: one leader and one ETA and 121 % change experienced by the imagined 100% change. They come helps us see where most value lies. participants with one library staff stakeholder taking account of what from both what we know people It is a combination of the number Workforce member also participating. There else might have had an effect. For would be prepared to pay and of people, the amount of change Participants is one library service affected and example, the use of professional national research into Subjective and the value of the change. Transported staff and artists the potential for large numbers to artists makes this a genuinely new Well- being Valuation. For example, 121 participants Local economy increase their demand for library experience for libraries. increased sense of belonging by x services which is not yet realised. 6%, x a value of 2,885 = 19,656. 146

147 Transported Evaluation Report - June 2016

(Endnotes) 1. Labovitz School of Business and Economics 2011, Minnesota Public Libraries’ Return On Investment

2. DCMS 2014, Indpendent Library Report for England Transported Evaluation Report - June 2016 3. DCMS 2014, Indpendent Library Report for England Chain of events for the Faceless Arts project Creative Consultations. Faceless Arts © Electric Egg Ltd.

How? What? Why?

Quality intent: what works? Tangible delivery outcomes Personal and social outcomes Economic outcomes

Inspiration

Meet local Demand Community needs Celebration

Celebrate people and place Everyday wellbeing Partnerships Excellence Person-centred New material Sense of belonging Leaders know Libraries Material culture Economy Make things pedagogy culture and communal value diversify relevant Management Public Artistic skills for Knock on effect investment Engrossing everday lives

Everyday Infrastructure Skills and Art in unusual Supply understanding Valued outcomes spaces Participants

Develop arts Local economy practice Some mobile users didn’t want Limited time to participate Challenges to take part; weather sometimes sometimes meant participation distracted felt rushed ETAs

148

Art and Business © Electric Egg Ltd.

149 Lightwaves, Impossible Arts

Transported Holbeach St. Marks Community Association Building, Sluice Road, Holbeach St. Marks, Lincolnshire PE12 8HF

Email: [email protected]

Tel: 01406 701006

Transported is a strategic, community-focused programme which aims to get more people in Boston Borough and South Holland enjoying and participating in arts activities. It is supported through the Creative People and Places initiative. Whilst every effort has been taken to ensure the accuracy of this information, times and locations are subject to change. Please check our website www.transportedart.com for the most up to date information. Events are suitable for all unless specified otherwise, but all children must be accompanied by an adult please.